The theme of transforming worship without breaking the bank continues in this issue as we welcome Kevin Yague as our newest contributor.
Kevin is an audio engineer with over 15 years of experience and focuses on innovative, budget-conscious strategies that are subtly pushing the boundaries of what’s possible in worship audio. He believes that churches deserve an audio experience that elevates their ministry, not one that limits it due to financial challenges.
A second theme emerging in this issue is protocols. All three of our Technology articles focus on a different topic. First, on page 36, Joyned considers how Milan
for connecting audio devices and how it stands out for its tight synchronisation and adherence to the AVB standard. Second, on page 38, Resi Media compares RTMP (Real-Time Messaging Protocol) and RTSP (Real-Time Streaming Protocol) and the benefits each one brings to houses of worship. Finally, on page 40, Advatek considers whether it’s best to use Art-Net or sACN for data transmission and how they both offer different ways of achieving the same aim: to get DMX data from your lighting console or software to your pixel controller. I hope you enjoy the issue.
Richard Lawn General manager rlawn@worshipavl.com
Nick Smith Digital media manager nsmith@worshipavl.com
Sue Gould Advertising director sgould@worshipavl.com
Chris Yardley Video editor cyardley@worshipavl.com
Casey Hawkins discusses three projects that Green Acres Baptist Church is undertaking in the runup to Easter
EVERY YEAR SEEMS TO ATTRACT new ideas and that generally means that we are working with outside vendors to install equipment and/or resources that don’t currently exist on our campus. This year is proving to be no exception to the rule. These are some projects we are working on for our Easter services.
Confidence monitors
For some time now, our worship ministry has been asking for a second TV on the rear balcony wall to have two TVs for the ProPresenter confidence monitors (stage TVs). Currently, we have it configured to show the current slide and the next slide on one 75-inch TV. They want us to have the current slide on one 75-inch TV and the next slide on the second 75-inch TV. To accomplish this, we must do several things.
The video infrastructure
There is currently no video feed for this new TV. We have three TVs on that back wall now and we have two SDI lines from our control room to the balcony that feed those three
screens. The centre TV is one feed and the outside two are the same feed, generally our programme feed. Their signal is split on the balcony. The centre feed is for a ProPresenter stage display (confidence monitor I call it). Now that we will have two centre screens, we will need to feed a third SDI line to the balcony. That is nearing a 9m run, which is flirting with the distance limit for SDI, but it is barely within specs. We have conduit from our control room to the balcony since we have cameras located there and our FOH audio is there as well. We use a vendor for cable runs like this, so we are currently waiting for their bid to arrive.
A cable without a source isn’t very useful so now we must determine where on our full router we are going to put this additional feed. That is still in the works, but we have several destinations that we can use. It is just a matter of choosing the best one for this purpose.
The TV
Traditionally, we have a local store that we purchase our TVs from. We are completely loaded with Samsung
smart TVs. We have experienced issues with smart TVs around campus. That is enough for a whole article in itself, but I am simply going to touch on it here. Somehow, those TVs get set on one of the smart apps and then users get frustrated and turn
monitor. They are a little pricier than a regular smart TV but, to get rid of the problems we have had with smart TVs, I am willing to pay more for them.
The mount
Unfortunately, we are unable to use traditional TV mounts for this installation because the wall that we are hanging this on is mostly constructed from acoustic foam treatment for sound purposes. So, there aren’t any studs or other solid framing to secure a mount to. Therefore, we have had custom steel fabricated hangers that literally hang over the railing of the balcony wall and then a traditional TV mount is affixed to that steel hanger. It has been 20 years or so since we last had one of these made, so now I am in search of local steel fabricators that can replicate the design of the others.
The ProPresenter settings
After all this infrastructure is in place, then the job will be to design the stage displays to use two TVs and then to tell ProPresenter what needs to be on each one. That will require an additional Thunderbolt output of the Mac Mini we use for ProPresenter, which will connect to a Blackmagic
Three confidence monitors line the balcony wall
The main Worship Center lobby
All images courtesy of Kaegan Smith
The hallway feed
We nearly had to rush this idea for Christmas last year but thankfully we got a reprieve, and they want to try this for Easter instead. It is a live camera feed from the Worship Center main lobby area to provide a live “red carpet”-type pre-service content for the livestream and the Worship Center IMAG as well. Their goal is to have a host interviewing people as they enter the building for Easter services.
The video infrastructure
We currently have a spare SDI run next to our main camera on the centre floor that we could extend to the lobby area for this purpose. However, that would require us to stick the cable run down with gaffer tape, and our leadership does not like cable runs, stuck down or not. So, we are working on a solution that requires little-to-no runs. We have asked our cable vendor to quote for a fibre run from the main lobby floor back to the control room. It will need to be fibre due to the length. They will install a box in a discreet location where we can terminate a fibre transmitter to
feed the fibre receiver in our control room. Then in the lobby, we will use a wireless video solution so that the camera and interviewees can situate themselves anywhere in the area. We also must determine how we will manage intercoms to that camera
The wireless solution
We are still investigating wireless video solutions, ranging from a few hundred dollars for the transmitter and receiver, up to over US$6,000 for the pair. Since we are unable to fail,
The Missions wall
We have a large display unit set up in our Worship Center hallway where one of the busiest entrances and exits to the building are located. It was once designated for a Missions ministry feature but that never came to fruition, so it just became a large monitor wall that does nothing but display our IMAG loop on. It is not tied into our control room – it is simply a standalone display with a BrightSign media player as its input and source. We have been asked to connect it to the main hallway IMAG feed from our control room so that during church services, the live studio feed can be displayed on it to give it more value. This will simply require a short SDI cable jump in the ceiling over the hallway to the display system. Then we can connect it via a throwdown SDI distribution amplifier off the existing SDI feed that circles the hallway already. It is the simplest Easter project we have so far. With all that we have going on all the time, these projects will add a significant amount of extra work for us in the coming weeks, but I am confident we will be victorious. In my article for the next issue of Worship AVL, I will show you how these projects turned out, so stay tuned!
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The evolution of remote guest contribution and video production in worship
QuickLink CEO Richard Rees considers how remote video technology has changed over the last decade
OVER THE LAST 10 YEARS, remote guest contribution and video production have transformed the way churches engage with their congregations. Once a niche capability, remote video integration is now an essential component of worship services worldwide. Nearly a decade ago, only the most technologically advanced churches experimented with remote guest participation. Today, high-quality video contributions and professional remote production tools are widely adopted.
This evolution has been driven by several key developments. This includes advancements in remote video contributions, such as access to high-quality, low-latency solutions, which now allow guest speakers, worship leaders and congregants to contribute seamlessly from anywhere in the world. Additionally, with cloud-based production, churches can now manage video workflows remotely, reducing the need for onsite production personnel. Furthermore, faster broadband and 5G connectivity have made high-definition, remote participation more accessible and reliable, while automation and AIdriven solutions have simplified video
mixing, switching and integration of remote feeds, reducing the technical expertise previously required.
The shift towards remote worship production
Ten years ago, remote guest participation was limited to prerecorded video messages. Today, churches are leveraging real-time video contribution to enhance worship experiences. For example, since pastors, missionaries and guest speakers are now able to join services live from any location, an increasing number of churches have incorporated live remote preaching and testimonies. Other examples include churches with multiple locations sharing sermons and worship experiences through live remote video feeds, virtual Bible studies incorporating interactive Q&A sessions and allowing global participation in worship services, as well as access to high-end cloud production tools enabling the creation of broadcast-quality content without the need for extensive onsite equipment.
The pandemic’s acceleration of remote worship technology
The Covid-19 pandemic significantly accelerated the adoption of remote video production and guest contribution. As physical gatherings were restricted, churches adapted to new technologies to keep congregants engaged, such as livestreaming and remote guest contribution. Later, as in-person services resumed, remote participation remained integral to church operations, providing new levels of accessibility. Remote worship production made it easier for international speakers, worship leaders and homebound members to engage. Remote guest contribution and video production are crucial for engaging modern worshippers. Today’s congregation members expect seamless video quality, interactive remote worship, mobile-friendly streaming and professional, yet accessible production. Despite the benefits of remote contribution, churches still face challenges in implementing this effectively. Churches with volunteer-led teams may struggle with integrating remote feeds and managing cloudbased production. In addition, high-quality remote production tools can be costly and require strategic investments, and keeping up with evolving remote contribution platforms and software may require ongoing adaption.
The future of remote worship production
Looking ahead, the future of remote guest contribution and video production will be shaped by several key trends. One of these being AI-driven production automation. Automated video switching and intelligent speaker tracking will reduce the need for manual intervention. We can also expect to
see the incorporation of enhanced cloud-based production, with more churches fully adopting cloud-based workflows, enabling seamless remote management. Additional trends on the rise include virtual and augmented reality integration, which will allow remote attendees to feel more present; cost-effective high-quality streaming, which will make high-quality broadcasts accessible to all churches; and the use of advanced engagement analytics, which will help churches tailor remote worship experiences to better engage audiences.
Expanding the reach of remote worship
Beyond improving worship services, remote video contribution is an effective tool for outreach. Churches can host virtual conferences and events, provide remote pastoral care, enhance community engagement, and train and equip leaders remotely. Remote video contribution and cloudbased production have redefined how churches connect with their congregations. These technologies continue to evolve from being optional to essential. The pandemic accelerated adoption, making hybrid worship models a long-term reality. As churches continue to embrace advanced remote production tools, they will find new opportunities to extend their reach, enhance worship experiences and foster deeper connections within their communities. By leveraging cutting-edge technology, churches can expand their impact, bring worship to audiences in new and innovative ways, and ensure that worship services remain dynamic, accessible and engaging for all.
www.quicklink.tv
Remote video contribution is an effective tool for outreach
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An ode to audio
SOUND IS THIS WEIRD phenomenon that we often take for granted. It’s all around us and you don’t really notice it until it’s gone, or wrong. I love sound and audio, and I’ve dedicated my career to it. It’s incredibly abstract which is both fun and frustrating. I’d like to split this piece up into two sections: one for sound in a real space, and one for audio for our streams and recordings. They both are vital to modern worship, and a little knowledge can be very powerful. Sound (and thus, audio) is integral to how we communicate. For most of us, it’s the historical medium of choice for the transfer of knowledge. And even now, in the digital age, we’ve found ways to use sound to reinforce the written word – I’m looking at you, voice notes! With decent sound comes great responsibility.
Sound IRL
In real life, we are at the mercy of things like physics. Your jeers are reasonable. Luckily, sound is a pretty basic principle of physics, and we only need to keep a few
things in mind. Don’t worry, this won’t be that kind of article.
The louder a sound is, the closer our brain tells us “it” is. The longer a reverberation, the larger the space we’re in. The bigger the cacophony, the more chaos. Something coming into our right ear means it’s to our right (same for the left). Both ears? Likely directly in front of us.
If we’re struggling to hear a voice clearly, we become so focused on our inability to hear that we shut off our capacity to process much else. If you’re anything like me, and your spouse starts to yell something on the other side of the house that you can’t quite make out, you either wait until you stop hearing distant mumbles or you interrupt to tell them to say it again. Ah, marriage.
Ideally there should be 7.5–12cm between your mouth and the microphone
We experience the same issues in our respective sanctuaries. For many of us, it seems like we’ve been dealing with whatever the “sound” of the room is for so long that it’s simply a matter of reality and less a fixable issue. I encourage you to look at some basic, common fixes for sanctuary
sound to improve the experience of worship in a space. My goal with sound reinforcement is to be as unnoticeable as possible, and as natural as we can make it.
• Are your loudspeakers pointed towards the pews? They’ll need to be pointed towards the folks that need to hear it. Notably excluding any nearby microphones.
• Are your cables taken care of?
N o busted jackets (the black
outer coating) and no bent pins, I hope. No dirt or junk in sight, either.
• Is t he microphone near your mouth? We can’t amplify what we don’t capture. A good rule of thumb for a voice into a microphone is 7.5–12cm between your mouth and the microphone.
• Do you have someone looking after your sound? Even a volunteer to help adjust the
The more we can amplify our voices, the more people we can reach
Image courtesy of Grace Church
levels between speakers can go a long way.
• When was the last time you had a professional come in and give it a onceover? $100 to come and spend an hour going over things can assuage your worries or give you a possible list of improvements.
Streaming audio
When we’re discussing sound in a real space, as mentioned previously, we’re at the mercy of the actual physical space we’re in. Many sanctuaries were built before sound reinforcement was even invented, so adding in the reinforcement (loudspeakers) can be quite tricky at times. But audio for streaming and recording? Well, that’s a horse of a different colour. In the digital realm we have lots of power at our fingertips. So long as the source is good, then there are always options. Emphasis on the source being good. Speak into that microphone, but don’t “eat it”!
We can be very forgiving for imperfect video but unforgiving when it comes to sound issues
long would you be willing to watch a video of someone speaking without any subtitles nor any audio? How about some audio where the video went out? Oh, that’s right, that’s called a podcast.
I spend a great deal of time with my pastor, minister, preacher, etc. and students trying to emphasise how forgiving we all are for imperfect video and unforgiving
Video is very visually appealing (duh). It tickles our brains in a very interesting way. Beautiful video really can make things feel larger than life. But it only takes us so far. It can be tempting to invest in wonderful cameras with all the latest equipment – and advances in
easier to get great video at a lower cost. I’m not here to bash cameras! I just want to get priorities straight. If we can invest in people to help us manage the sound for streaming, it makes all the difference. That might mean you have one person who mixes the sound for the sanctuary and another is keeping an ear on the livestream mix. You don’t have to have two boards to do that (though, that is very nice). Or even just getting the person that records or streams your audio
a great solution. In that case, the goal is to try and not hear the room and only focus on what’s going into the headphones. That allows them to make decisions on what needs to be louder or softer or otherwise adjusted specifically for the stream or the recording.
In a dream world we have lots of money and manpower to get the things we need done. Most of the time we’re working with what we have for as long as we can. I know sound and audio can be this throwaway topic that “as long as it’s working” means to just leave it be, but I encourage us all to strive for intentional audio. That’s all. I’m advocating for it to be something that’s worth considering, and all things considered quite affordable to adjust or fix.
We rely so heavily on sound to get The Word across. I know it isn’t a wonderful slide deck or beautiful moving backgrounds on a TV, but it’s the most important part of what we do. If we can amplify our voices, the more people we can reach. The more people we can reach, the more lives we can affect. And isn’t that what any of us are really trying to do?
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Breaking barriers
Innovative AV strategies transforming church worship
Kevin Yague is an audio engineer with over 15 years of experience and believes that financial constraints should never limit the quality of worship production
BALANCING
TOP-NOTCH
AV quality with limited budgets is an ongoing challenge for many churches. Yet innovative approaches are emerging that prove even modest investments can transform the worship experience. This article explores how creative AV solutions –blending smart budgeting with advanced technology – are being implemented by congregations, setting a new strategic standard in church AV production.
The financial and acoustic hurdles
Many churches must prioritise essential ministry needs over state-of-the-art AV systems. Legacy equipment, combined with the acoustic challenges of older or multi-use buildings, often leads to muddled sound and visual performance that detracts from the worship atmosphere. With limited budgets, congregations are forced to innovate by maximising existing resources while strategically investing in targeted upgrades.
Training volunteers reduces reliance on expensive external technicians
approach spreads expenses over time and ensures the AV system remains state-of-the-art and adaptable to emerging needs.
Optimising existing equipment
Innovative strategies on a budget
AV experts now advocate a phased approach that delivers immediate improvements while laying the groundwork for long-term enhancement. A smart, budgetfriendly strategy involves several key elements:
Phased upgrades
Instead of committing to a costly f ull-scale overhaul, churches can identify critical areas for improvement and upgrade those components incrementally. A great starting point is the adoption of modern digital mixers – a technology that has revolutionised the AV industry much like smartphones have transformed communication. These mixers evolve through software upgrades, adding features and enhancing performance year after year without costly hardware replacements. This
Many congregations already h ave legacy AV systems that can be significantly improved with smart adjustments. Reconfiguring speaker placements and visual displays to better suit unique acoustics and sightlines, along with fine-tuning system levels, can make a noticeable difference. In addition, targeted acoustic treatments and strategies like inear monitoring – which drastically reduces stage noise from uncontrolled sources – can yield a much clearer and more dynamic AV experience without a complete replacement.
Cost-effective technology
Modern network-based AV s y stems offer a streamlined alternative to legacy setups that rely on extensive cable runs and cumbersome hardware. By transmitting signals digitally over standard network infrastructure, these systems reduce installation
time and overall costs while providing scalable, flexible solutions. This approach simplifies configuration and facilitates future upgrades as technology evolves.
Tailored system design
Every worship space is unique, w i th its own architectural and acoustic challenges. However, many churches rely solely on the building architect’s generic plans, which often overlook the specialised needs of an effective AV system. By involving AV integrators early in the planning process, churches can ensure that both audio and visual systems are designed to meet practical needs and implemented over time. Detailed assessments help determine the optimal mix of upgrades and adjustments, ensuring every dollar invested delivers maximum impact and that the system remains adaptable as requirements evolve.
Empowering volunteer
tr ai ning: a strategic priority
Perhaps the most transformative e l ement is the focus on volunteer training. Churches often rely on
dedicated volunteers to manage their AV systems, making it essential to invest in hands-on workshops and comprehensive operational guides. This approach empowers teams to handle routine maintenance, troubleshoot issues and optimise performance in real time. Training volunteers reduces reliance on expensive external technicians and fosters a culture of continuous improvement, ensuring that every upgrade is maintained and that the worship experience evolves over time.
Conclusion
Focusing on strategic upgrades, optimising existing resources and empowering volunteers shows that even under tight budgets, every note and visual element can resonate with clarity and purpose. This strategic mindset is setting a new benchmark in church AV production and transforming the worship experience.
The evolution of church AV systems is paving the way for a future where financial limitations no longer dictate quality. Innovative strategies – from phased upgrades and optimised equipment usage to the integration of modern, network-based AV technology – are proving that strategic investments can yield extraordinary results. Most importantly, empowering volunteers through focused training is a game-changer, ensuring that improvements are maintained and enhanced over time. These combined efforts not only improve AV quality but also strengthen the overall ministry impact.
As congregations embrace these creative and strategic solutions, the future of worship sound and visuals is set to become brighter and more dynamic than ever. Every component of the AV experience, when managed with a strategic mindset, contributes to a transformative worship environment that draws communities closer together and truly supports the mission of the modern church.
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Creating passion for worship
this year at the State Farm Arena in Atlanta
TNDV IS A MOBILE TELEVISION production company based out of Nashville, Tennessee, and delivers multi-camera productions for stadium and arena-sized worship events. The three-day Passion Conference brings together speakers, educational sessions and musical performances for university-age students and their leaders. The latest lineup included inspirational speeches along with musical performances from Christian singers such as Kristian Stanfill, Landon Wolfe and Brooke Ligertwood.
The Passion Movement was established in 1995 by Louie and Shelley Giglio, and consists of the Passion Conferences, Passion City Church, Passion Publishing, Christian music label sixstepsrecords and the Passion Global Institute.
“We first became involved in the Passion Conference in 2011,” explains Rob Devlin, president at TNDV. “One of our clients was
already involved so they brought us in to help out and we’ve been working with them ever since. They were always trying to do something new and innovative even in those days. I was an engineer on the remote side that year – we were in a small flypack that was underneath some portable grandstands that they had added to the convention centre where the event was being held. There were five or six cameras in this room and there was a fibre cable that connected the room all the way to the arena, which was about a mile away. Fibre was still up-and-coming at that time so it was really interesting that we could pull that off.”
The conference started out on a much smaller scale in the 1990s and it’s slowly evolved into what it is now, moving into arenas and stadiums in the mid-2000s. “Back then, the event was at the Georgia World Congress Centre in Atlanta,
The control room inside Aspiration
not far from their main worship facility,” adds Devlin. “The event has always had ties with Atlanta but it’s moved around a lot over the years. One of my favourite years was when we had three events in Atlanta, Washington DC and Houston in Texas happening at the same time. There’s been other multicity events we’ve managed in the past, and one with a link to the International Space Station –there was some pretty antiquated technology that we had to find to make that happen.”
The advances in technology since TNDV first became involved in 2011 has meant that the equipment setup has been significantly reduced. “The onset of IP and fibre optics and technologies such as Dante and 2110 have changed so much. We were running miles and miles of cabling back then but now, with the onset of fibre optics, we need a maximum of three or four cables. If we needed say 22 different signals in the past for graphics, we’d be running 22 BNC cables. That has disappeared with MultiDyne’s FiberSaver, a 1U hardware enclosure that consolidates video and data onto a single fibre strand and takes it out to the truck.”
Another first for this year’s event was that the organisers decided to hold the conference twice, with the
advantage of the investment they’d made in the arena and the equipment to cater to more people. “The State Farm Arena is Atlanta’s main basketball arena, but the downside is that the venue isn’t an arena and this created its own challenges,” adds Devlin. “There wasn’t much infrastructure in the building so we had to home run everything – every cable starts at the truck and ends up in the arena. And the path to get in there isn’t ideal either. There’s boom lifts and scissor lifts involved and we’re tying into cable trays and running around catering freezers and over seating.
“We also had to work around other games that were taking place,” continues Devlin. “This year, there was another event on New Year’s Eve so we didn’t get access to the building until 7am on 1 January with the first conference starting the next day, giving us about 18 hours to prepare. Normally we’d have three days! Due to increased demand, the event was held twice, with only 24 hours in between, so it was a rush to get everything ready for the first day but then we could relax a little for the second.”
TNDV brought in its Aspiration truck to handle the production for the event – which was upgraded to 4K last year – along with all the monitors for fallback, the audience displays for the hearing impaired and the producer rooms. Aspiration is a 12m expander truck that incorporates a Grass Valley Kayenne switcher with a secondary panel that keeps the IMAG and broadcast switches separate so not all the graphics are being sent to the internet stream.
“Aspiration used to be our biggest truck but we’ve built another one now,” continues Devlin. “It was parked outside and handled everything downstream of the cameras. We had
for the streaming platform. “When you run into network-based audio, sometimes you run into clocking or reference issues if you’re not all on the same system,” explains Devlin. “And even though we were, it was really nice to use a Studio Technologies Dante bridge to help us get our two networks operating together to allow us to talk without having to reassign IP addresses to either the truck or the house’s audio network. And it does a fantastic job of allowing that audio to pass without having to reconfigure everything. The technology within Dante has grown quite a bit in the last two or three years, even as 2110 comes about and there are a lot more IP-based signals. It means
remote control panels for the router so that the producers and directors that were outside are connected to the truck and we can feed them multiviewers so they can see themselves. All the colouring for the cameras, graphics for the cameras and the web streaming to their website were also handled inside the truck. We also built them a remote graphics facility in the venue that had 16 graphics machines with ProPresenter –and that all came back to the truck as well.”
Aspiration acted as the main hub for the event, with TNDV using the venue’s public internet to get everything up and running. The church provided its own encoder – combined with the new Evertz Nexx router on that truck, TNDV was able to give the church the various embedded feeds that it needed, both for the encoded webstream feed and also the various IPTV feeds throughout the arena for the church’s own video and audio feeds as well.
TNDV took a Dante feed from the house broadcast audio console to embed into the transmission path
we can do the Passion conference one day and an awards show the next, but it means we don’t have to reprogram the entire truck because there can still be a lot of potential failures or issues within IP networks.
“The demand of the job is one of the things that makes it so special and interesting, but we thrive on that,” concludes Devlin. “We’re putting in some long hours and we weren’t given much time to prepare, but we keep doing a good job so they keep coming back to us! To see the impact on the kids and to see everything come together so successfully is really rewarding. The technology is making these events much easier now – seeing it all come together is remarkable.”
Dates have already been announced for the 2026 event which will take place from 1–3 January at the Globe Life Field stadium in Arlington, Texas.
www.livemediagroup.com/tndv www.passion2026.com
TNDV’s Aspiration truck parked outside the arena
Old meets new
Sound Creations and PAXT team up to enhance audio intelligibility at one of Mombasa Old Town’s largest mosques
MOMBASA HAS BEEN A significant centre of Islamic learning and culture for centuries, and as a result the city skyline bears the mark of many notable and architecturally impressive mosques. The unique blend of cultural experiences, historical sites and beautiful beaches has made the East African city an increasingly popular tourist destination.
As the largest mosque in Old Town Mombasa, located near the old harbour facing the ocean, Burhani Masjid boasts all three of these popular attributes. The three-storey building is an especially good example of the best Islamic architecture Mombasa has to offer, with both it and surrounding buildings sporting top-quality edifices showcasing the centuries-old Muslim influence on the coastal city. Its architectural design is distinct, with elaborate façades, intricate carvings and a well-maintained interior that reflects the community’s attention to detail and aesthetic values.
Seeking an overhaul of the audio system throughout the building, audio consultant Aliasgar M Nanabhai enlisted Nairobi-based systems integrator Sound Creations to deliver state-of-the-art, futureproof sound while ensuring scalability to support Burhani’s diverse range of activities. Having maintained a close relationship with Sub-Saharan Africa and Middle East distributor PAXT for more than 20 years with the two companies successfully executing a multitude of complex audiovisual projects across the region, the pair once again pooled their resources.
“PAXT offers unmatched technical expertise through a team of skilled sound engineers, a reliable logistics department and strong partnerships with world-class professional audio brands. Additionally, we provide on-the-ground support in Africa’s challenging markets via dedicated business development managers, a robust reseller network and experienced systems integrators,” explains PAXT Kenya’s Alvin Otemba. “Sound Creations has been a steadfast partner in East Africa, renowned for its capability to supply, integrate, install and commission
a wide range of projects, and its expertise made it the natural choice for this mosque installation. This comprehensive approach ensures seamless project delivery and exceptional results. The end user also felt reassured and confident working with Nipul Shah, whose leadership and hands-on approach as Sound Creations’ managing director have been instrumental in delivering outstanding results.”
With a project brief focused on achieving excellent sound quality and reliability tailored to the unique needs of Burhani’s main worship space, Sound Creations designed a solution comprising 76 QSC AD-S4T-WH 4.5-inch and 18 AD-S6T-BK 6.5-inch surface-mount loudspeakers for distributed audio. These are augmented with six JBL Professional CBT 70JE-1 column speakers lining the lip of the upper-floor balcony to complement audio coverage with precise clarity and dispersion. Powered from a mix of three QSC GXD4 and 12 ISA500TI amplifiers, the new system takes inputs from an Allen & Heath AR2412 audio rack
which feeds an SQ-6 digital mixing console located in a rear control room.
“The equipment was chosen for its renowned quality and reliability,” comments Otemba. “QSC is globally recognised for delivering high-quality audio solutions, especially for largeformat, low-volume public address systems. The client also sought uniformity with other community mosques, where QSC has already been successfully deployed.”
With the need to quickly complete the fitout to meet a rapidly approaching Ramadan, PAXT’s ability to expedite equipment delivery was essential to the project’s success. “One of the primary challenges was working
within tight timelines ahead of the holy month of Ramadan,” notes Otemba. “This required quick procurement, efficient packing and timely shipping to ensure the system was installed and operational before Ramadan began.”
Having successfully completed everything on time for Ramadan and the system now operational, the client has expressed immense satisfaction with the new setup.
“The new sound system has greatly improved our worship and audio experience,” concludes Nanabhai. “Previously, we struggled with audio feedback during prayers but, with the new system, we no longer experience any feedback issues. Its ability to provide clear, intelligible
sound has made a remarkable difference in our prayers, especially during this Ramadan period.”
“The newly installed sound system at Burhani Mosque successfully captures the three primary measures of sound quality – fidelity, intelligibility and loudness – and the audio consultant was very impressed by the clarity of the QSC speakers and outstanding performance of the Allen & Heath SQ-6 mixer,” concludes Shah. “We are grateful to PAXT for their timely deliveries of audio equipment, support, expertise and dedication, which were instrumental in ensuring we met the installation deadlines.”
www.paxt.com
www.soundcreationsltd.com
Just short of 100 QSC speakers have been installed in the main worship space
balcony
immersive that inspires
With EAW’s ADAPTive technology, an immersive experience is possible everywhere.
Traditional systems could not provide immersive coverage throughout Faith Community Church’s intimate sanctuary. ADAPTive’s unique ability to control coverage delivered full range, even sound from each loudspeaker to each listener, drawing the congregation together into a shared experience.
“The ADAPTive part of this is unlike anything else… it’s shocking. This is the solution for churches.”
- Jacob Pierce, Administrative Pastor
at Faith Community Church
Proof of concept
Phase two works at Kuala Lumpur’s National Mosque have been completed, five years after Acousticon’s original phase one
WHEN THE INTERIM BETWEEN
an audio system’s design and its procurement extends from months into years, there is a grave danger that elements of the originally specified technology will have sufficiently dated. When budgets are frozen, AV consultants cannot remain complacent, as Acousticon’s Azizi Ala will testify. Spanning the completion of Kuala Lumpur’s National Mosque (Masjid Negara Malaysia) phase one outdoor and more recent phase two indoor upgrades, the respected consultant had to patiently wait for five years. However, with the original 2019 design remaining unchanged for the 2024 system build, Acousticon’s original concept passed the ultimate futureproof test.
Constructed between 1963 and 1965, with a capacity for 10,000 worshippers, the mosque represented a bold and
modern approach to reinforced concrete, which was symbolic of the aspirations of a then newly independent Malaysia. Key architectural features include a 73m-high minaret with a folded cap and a 16-pointed star roof. Synonymous with the tropics, the main concrete roof is reminiscent of an open umbrella, with folded plates creating larger spans in the main gathering hall.
In 2018, the Department of Islamic Development Malaysia (JAKIM) commissioned the Public Works Department (PWD) to review the existing audio system within the National Mosque of Malaysia. Having identified problems pertaining to loudspeaker power and intelligibility in addition to the complex daily operations faced by the mosque operators, a decision was taken to appoint an audio acoustic specialist.
design
the design was finalised. Mindful of this fact, Acoustician would need to prioritise the most pressing works for immediate completion while ensuring that the technology specified for both phases would seamlessly marry.
Phase one of the upgrade focused on the outdoor area, including a problematic 80m-long, 48-column pillar zone outside the main
entrance. Implemented in December
and the outdoor area. For the latter, readings. The collated date provided modelling.
The open areas and terrace were plagued by poor intelligibility, as confirmed by an average STI reading below 0.45. In addition to the existing column-mounted speakers malfunctioning owing to damaged high-frequency drivers and power supplies, they had also been installed incorrectly. Furthermore, set delays and time
L–R: Imam Arif with Acousticon founder Azizi Ala
The main prayer hall is governed by strict architectural regulations
alignments were inaccurate. To achieve a required 32m throw, EASE Focus 3 software depicted that the proposed steerable speakers would need to be fixed at a mounting height of 1.7m above the floor. The actual mounting height was compromised, owing to ceiling height limitations, to 2.3m. Being a heritage listed building, a discreet audio design was sought so as not to distract from its architecture. With the Iconyx and IC Live being the column speakers of choice for Mecca, Renkus-Heinz became the favoured loudspeaker brand for the National Mosque. A simplified distribution solution with multiple speaker locations was re-engineered to a centralised solution with single locations in stackable speaker configurations. In total, 24 ICX7-II mechanically steerable line arrays were sensitively affixed in pairs to 12 columns throughout the outer areas. The pairing of two slim black matt enclosures on each column combined to create a tighter beam control of 15° while adding an additional 6dB in output. Tilted at an angle of –3°, the dual ICX7-II passive enclosures offer 150° horizontal coverage in the outdoor terrace, in addition to an average STI rating of 0.56 with adequate SPL levels. With its 48 pillars, the praying area also recorded an average STI reading of 0.56. Despite the pillars creating column effects that typically impact sound coverage, the setup proved to be effective in resolving audibility and intelligibility issues in the outdoor area.
Traditionally, Malaysian mosque operations operated in the analogue audio domain, whereby settings wrongly configured and not
reset over time have led to sound degradation. Accordingly, Ala has promoted digital solution upgrades for all the mosques he oversees. Central to the DSP solution in the National Mosque is a user-friendly interface, with a 12.9-inch iPad Pro fixed at eye level in the equipment rack room.
Based on a simplistic touchpanel concept using Q-SYS iPad control, Ala has been a longterm advocate of the Q-SYS platform in larger mosques. The
Acousticon spent working on phase one of the project, the Q-SYS programming including the creation of 18 photoshopped images and exact presets took just one week. The panel is triggered within the control room before being activated externally. Furthermore, the naturally clear vocal tones of the imams and bilals are managed according to the dB levels specified by each imam. Serving as the main source input, Shure BLX wireless receivers and wired SM58 and SM35 microphone transmitters are
hall. Differentiating itself from the passive distributed loudspeaker solution applied to the outdoor area, the second phase for the magnificent prayer hall adopts centralised active steerable enclosures. Following a plugand-play concept, the Q-SYS and AES67 foundations laid in 2019 served as a precursor for phase two. This would ensure that the indoor speaker solution could be implemented seamlessly, without having to redesign or add further elements.
24 Renkus-Heinz ICX7-II steerable arrays are affixed to 12 columns in the outdoor area The minbar is equipped with Shure goosenecks
Acousticon designed a GUI adopting Q-SYS for the 12-inch iPad Pro screen
The network continues to adopt AES67 audio-over-IP network interoperability. “Owing to the licensing limitations imposed by Q-SYS on Dante channel capability, I opted for AES67,” explains Ala. “It’s a free licensing model that is compatible with other components, including the Attero Tech I/O panels, and most Dante-enabled devices can operate in AES67 mode.”
Ala’s NTI Audio measurement tools including the XL2 Acoustic Analyser set, Talkbox and DS2 Dodecahedron speaker collated the data required for an analytic report. Like phase one, this analysis formed the base for an assessment and a proposal using EASE 4.4 modelling. A low rating of sound intelligibility was strikingly evident and despite the total SPL attaining 15dB above the ambient noise level, the STI result suffered. Unoptimised beam steering or steerable speaker settings were identified for an STI of 0.37 at 25m from the speaker and directly underneath the centre of the dome, at a distance of 50m.
In line with the strict architectural regulations, the relocation of speaker points or cabling conduit work was prohibited. At the very least, special permission would be required following a complex approval process. With most of the surfaces decorated with unique and prestigious imported marble from around the world, the prohibition extended to the speaker mounting requirements on any wall or pillar in the main prayer hall. Therefore, a custom standalone decorative stainlesssteel pole with SS304 finishes was created to mount the three-stack steerable speaker cabinets at the same location as the previous pole, in front of the Kibla Wall.
A common issue faced by mosques is high reverberation (RT60) and the Masjid Negara is no exception. Having recorded a high RT60 reverberation time of 3.14s at 1kHz and 6.21s at 250Hz on the NTI Dodecahedron speaker set, Ala was presented with the twin challenges of enhancing speech intelligibility in addition to configuring the speaker layout. With passive acoustic treatment ruled out, he was forced to adopt an electroacoustic solution using active steerable speakers.
“Depending on how effective the coverage area can be achieved, the sound system design typically uses a distributed or centralised layout,
the IC24-RD columns providing clear intelligibility in Putrajaya’s Tuanku Mizan Zainal Abidin Mosque. Based on its performance and reliability, Ala recommended the same model speaker to the consultant, which was duly endorsed by the JAKIM.
Integrating OmniBeam beamsteering technology, the IC24-RD enclosure hosts RHAON II control and Dante network connectivity, which also applies to the AES67 network established by Ala during phase one. Powered by 24 Class-D amplifier modules, each of the 24 4-inch coaxial transducers come
mounting at a height of 4.5m. Guided by the EASE 4.4 software, two clusters of IC24-RD speakers depicted 80% coverage with a minimum STI rating of 0.5. The coverage decreased to 74% when four clusters of the same threestack steerable speaker cabinets were modelled. Additionally, a comb filtering effect caused by excessive reflections from a nearby large glass door also resulted. As such, both the client and consultant agreed with Ala’s assessment for two clusters to fulfil the desired STI rating.
Five years on since completing phase one, the system has been running smoothly without any major issues. “Highly intelligible, with excellent tonality extending over a wider coverage, the newly installed speakers sound different from the previous ones,” remarks
where 80% coverage is considered good. I would have personally preferred the main prayer hall to have adopted a distributed configuration, because the 16 pillars cause column effects, which reduces the sound coverage area.”
However, Ala had to dismiss the distributed option as it would involve relocating speakers and running new cabling conduit, prohibited under restoration regulations. “I was forced to design a centralised layout configuration. Additionally, with speaker placement restricted to a 5.4m ceiling height, the throw distance was compromised. Because higher mounted speakers can project audio further than those at a lower position, a speaker with a movable acoustic centre was deemed essential for projecting up to 50m. Fortunately, I was able to specify a powerful and reliable active steerable speaker system, capable of projecting even SPLs across a wide-angle coverage area with excellent STI results.”
National Mosque Grand Imam, Haji Ehsan Bin Mohd Hosni. “With the audio coverage now reaching the imam’s spot, we no longer need an additional monitor speaker to be placed in front of us.”
However, the UPS backup power supplies provided by the electrical contractor were insufficient to handle the equipment load, which led to some power trips. Rated at the correct power capacity to resolve the overloads effectively, three NeuroPower Chronus 6K R uninterruptible power supplies have been added to the existing rack equipment.
Having successfully deployed the ICX7-II columns for phase one, the audio consultant had no hesitation in specifying the same brand for the interior. Renkus-Heinz has a strong track record of notable installations in Malaysia, including
with three HF tweeters. With the onboard software-controlled DSP, up to 12 steerable beams can be individually shaped and aimed from each IC24-RD column. Once fixed into position, the RHAON software demonstrated an even distribution of SPLs emitting from the front field to the rear field with a tolerance of ±2dB.
Turning to Renkus-Heinz for optimal coverage and sound projection up to 50m, a threestack cabinet was proposed for
The addition of the two fixed IC24-RD columns has led to a much-improved worship experience within the National Mosque. “With the acoustic centre shifting to the top of both IC24-RD columns, both speakers are set at a height just 1.6m above the floor, rather than the ideal 4.4m specification,” adds Ala. “With the beam frequency controlled down to 250Hz, the reverberation effect has been minimised. This is crucial because speech frequencies, particularly at 250Hz, play a key role in vocal clarity.”
A subtle upgrade perhaps, but Acousticon has created a significant difference to the mosque’s audio credentials. Despite the five-year intermission between phases, the digital audio network design remains as current and up to date as it did when first laid out on the original blueprints.
NTI Audio measurement tools included an XL2 Acoustic Analyser
The speaker placements were restricted to a 5.4m ceiling height in front of the Kibla Wall
Awakening the spirit
CTS AVL provided the AVL setup for the Awakening Tour 2024 led by Casting Crowns, We the Kingdom and other Christian artists
TAKING PLACE IN ARENAS across the US, the Awakening Tour 2024 featured performances from Casting Crowns, We the Kingdom, Mac Powell, Katy Nichole, Terrian and David Leonard. CTS AVL was chosen as the production partner for the tour, providing the crew and an extensive AVL design solution for the events. The one-off tour was organised by Awakening Events, a leading live faith-based entertainment specialist.
“We have a longstanding relationship with Awakening Events and we’ve been touring with Casting Crowns for over 15 years,” explains Michael Taylor, president of CTS AVL. “For the Awakening Tour 2024, we provided full audio, video and lighting solutions to elevate every moment on the stage. We were given a budget for the event so we could design a setup that matched their requirements. Quite often, when artists or production managers are planning events, they’ll recruit a production designer but when it comes to pricing, there ends up being a disconnect. We don’t work that way – we work backwards so that we’re creating something that fits within the budget and the design vision. This ensures that the client gets the design
they want with the actual budget they’ve specified. As a result, we were able to deploy top-tier technology –including JBL speakers, Yamaha and DiGiCo consoles, Yaham VMX LED and lighting from Ayrton and Chauvet –and provide a seamless, high-quality production across the entire tour.”
CTS AVL specified 66 JBL Professional VTX/SRX Series speakers and subwoofers for the mains, wings and front fill. One Yamaha QL1, one Yamaha QL5 and two DiGiCo Quantum 338 consoles were deployed
at front of house and monitors. These were joined by 32 Crown Audio I-Tech amplifiers, 16 channels of Shure Axient Digital Wireless microphones and 18 channels of Shure PSM 1000 wireless IEMs.
The video inventory consisted of 102 Yaham VMX VN-480T LED tiles for the upstage wall and lyric strips, one Ross Carbonite Solo switcher along with an AJA Kumo 6464 router, one Panasonic AK-HC3800 HD studio camera at front of house, and several Marshall CV502MBl POV and CV620-IP PTZ cameras.
For lighting, CTS AVL provided 63 fixtures consisting of Ayrton Khamsin and Mistral models along with Chauvet Professional’s Maverick MK3 Wash and Color Strike M units, all controlled by two MA Lighting grandma3 consoles. Special effects were provided by two MDG haze machines. While working to a budget provided the necessary guidance to plan the event, it also allowed CTS AVL to be more creative with how the equipment was used. “It’s always hard to create an arena event that feels big enough to be in an arena when you have hard costs that take up most of the budget before we even arrive onsite,” adds Taylor. “In the secular music world, people are willing to pay very high prices and this music is aimed at a very different demographic. Christian music events tend to be catered to families, youth groups and ministries, and the experiences are more focused on connection and worship. Along with that, outside of the budget for the equipment, we have to consider the cost of trucking, busing, catering, crew and lodging, so the budget ends up being tighter given our target audience being a family of four and what a night out can cost. The way our team created the design and arranged the lighting with layering to add height meant that we were maximising a minimal approach while focusing on truck space and crew size to get the job done in a reasonable timeline at each stop. Despite the differences in budget, our team is experienced and adept at producing design visions that are high impact, even when margins are tighter.”
The tour was a huge success and executed as planned. “We’re really grateful to Awakening Events for trusting us to help create an unforgettable worship experience for the tour,” concludes Taylor.
“We’re currently out on tour with TobyMac right now, with other arena and church tours in the pipeline later this year, so there’s no let-up in the schedule any time soon!”
www.awakeningevents.com www.ctsavl.com
sennheiser.com
Full immersion
FOUNDED IN 1954 BY PASTOR
Warren Piersol, New Life Church in Corpus Christi, Texas, moved into new premises in summer 2024. Having outgrown its previous home, the church opted to expand its South campus and build a new 2,000-seat worship centre next door, bringing the multi-site church back into one location as a result. However, the tent structure, adjacent to a military airstrip, came with a lack of reflective surfaces and demanding acoustics, so the church once again turned to Michigan-based HOW specialist integrator E2i Design for help, a company that has been supporting the church with its AVL needs for over eight years.
The integrator chose a d&b audiotechnik Soundscape audio system with En-Scene and En-Space modules that immerse the congregation in a dynamic, engaging worship experience. The system has resulted in a dramatic transformation of the tent’s acoustics, improving the depth and localisation of the worship band in the mix, and increasing engagement from the congregation. “Tent fabrics don’t offer the same reflectivity as permanent construction,” says Evan Hamilton, chief technical officer at E2i Design. “Soundscape with En-Space enabled
us to create natural-sounding reverb times with resonances better than many traditional church environments. We wanted to achieve a fully immersive environment and to give each seat in the house the same experience. We also wanted to have access to some specific reverb sounds available in En-Space.”
The decision to include the Soundscape En-Scene module proved to be instrumental to the venue’s transformation. In the process of deploying Soundscape, E2i Design realised that lacklustre tent acoustics were affecting the sound experience of those onstage and also negatively impacting the experience of the congregants. “New Life Church has a large worship band with six singers,” comments Hamilton. “En-Scene allows us to place those musicians in the mix, corresponding to where they are onstage, and provide a great sense of localisation to everyone across the congregation. En-Scene is incredible, you gain depth and spaciousness in your mix where you never previously had it.”
The integrator was able to provide a cost-effective solution to New Life Church by repurposing its existing d&b xS-Series system that the integrator had previously supplied,
which was deployed at the church’s old location. “When constructing New Life Church’s new facilities, their dream was to create an immersive worship experience, even though it was in a tent,” adds Hamilton. “We were immediately off to a great start with their previously purchased xS-Series system. We integrated it with the DS100 and some additional d&b loudspeakers, and now New Life Church has a fullscale Soundscape PA.”
The complete system includes five xS-Series 24S-D loudspeakers for the mains, two 10S-D point source as extensions, six 21S subwoofers, eight 8S loudspeakers as surrounds and six 44S loudspeakers for front fills. The system is powered by a combination of 30D and 5D amplifiers. A DS10 audio network bridge networking handles signal routing, while processing is provided via the DS100 signal engine running
When we do what has to be done. Single-channel operation, broadband directivity for all. The CCL, compact cardioid line array. A big idea, right sized.
Experience more at dbaudio.com/cl-series
Soundscape with En-Scene and En-Space software. Half of the 8S speakers and two 24S-D were sourced from New Life Church’s earlier d&b installation.
The d&b Soundscape setup formed just one part of the AVL upgrade, with E2i Design also providing New Life Church with an Allen & Heath C3500 console for its live mix and an Avantis console for its broadcast mix, along with KLANG IEMs, Shure ULX-D wireless mics and a full Dante audio network structure that ties everything together, reducing cabling and making it easy to scale or troubleshoot the system in the future.
“The dLive C3500 was chosen for its balance of depth,” explains Hamilton. “It offers powerful mixing capabilities with an intuitive layout, making it ideal for both seasoned engineers and new volunteers. With drag-and-drop channel customisation and touchscreen control, it’s easy to tailor workflows for different users and service styles. It integrates seamlessly with the immersive audio system, ensuring that every seat experiences consistent, high-quality sound. Avantis shares the same design language as the dLive system, so training is straightforward across FOH and streaming mixes. It delivers clarity and punch to the online audience without overcomplicating the workflow.”
Hamilton integrated KLANG in-ear monitoring to give the musicians a 3D, spatial mix experience – this not only helps worship team members perform with more confidence, but it also reduces onstage volume. Each musician can personalise their mix via a tablet or mobile device to help streamline rehearsals and reduce reliance on the tech booth.
The Shure ULX-D system comes with rechargeable battery packs and auto frequency coordination to reduce setup time on busy Sunday mornings.
On the video side, the integrator specified a Ross Carbonite Ultra switcher and Ross TouchDrive TD1 control panels. “The video system at New Life Church was designed to elevate both IMAG and livestream production, without requiring a professional broadcast crew,” continues Hamilton. “The Ross Carbonite Ultra switcher, paired with the TD1 control panel, offers high-end production features with an intuitive button-based interface. Volunteers can walk in, hit a labelled preset and run a seamless service confidently. This kind of system allows New Life Church to maintain a high production value while keeping the workflow simple and approachable.”
A range of Chauvet fixtures have also been installed, including 12 Rogue R2X Wash along with 18 Rogue R2X Wash Variable White, eight Rogue R2X Spot, 20 COLORband Pix ILS and 24 ChromaQ Inspire XT house lights.
“The Rogue R2x line brings flexibility and impact with a palette that supports any worship environment,” adds Hamilton. “Pre-programmed scenes allow volunteers to run services with minimal intervention, while still creating powerful moments of dynamic lighting. The Colorband Pix ILS provides energy and movement without requiring a deep lighting background. We have designed scenes that volunteers can trigger easily, helping the room come alive during worship or transitions. The Inspire XT house lighting system bridges the gap between functionality and immersive experience. The entire room becomes a part of the worship moment – colours, intensity and transitions can all be customised with a simple cue list or lighting console.”
Hector Lebron, New Life’s technology director, says that the church “loved our earlier d&b audiotechnik system and now we’re blown away by our new Soundscape system. We’ve received nothing but positive feedback from the congregation.”
“At E2i Design, our goal is always the same: educate, empower and inspire,” describes Hamilton. “When we partnered with Hector at New Life Church, we leaned into that philosophy to deliver a system that enhances the worship experience while remaining approachable and easy for volunteers to operate. This wasn’t just about gear – it was about designing a cohesive, immersive environment that supports both the message and the mission.”
When asked if he’d recommend d&b audiotechnik Soundscape for other church installations,
that the church is finally open, they have so much pride and passion for their new home because of its uniqueness and how amazing it sounds. New Life Church is a growing ministry and we’re here to support them with any future needs that may arise. I am particularly proud that we leveraged Soundscape to provide an even more immersive environment through a voice-lift system,” concludes Hamilton. “With mics hung over the congregation and piping them through En-Space, everyone in the audience experiences a greater sense of presence, especially while singing along – they feel like they’re in the same acoustic space as the band, making them feel more connected.”
who knows absolutely nothing about audio, let alone immersive audio, to easily create a phenomenal mix with space and depth. Plus, because elements don’t compete against each other, your overall volume is down across the board. We’ve had so much success with clients by showing them this one thing alone – I find it one of Soundscape’s most compelling features.
“The planning and approvals required due to the church’s proximity to the military airstrip made this a long process,” adds Hamilton. “Now
technology empowers people, especially volunteers,” concludes Hamilton. “That’s why we prioritise intuitive control systems, scalable infrastructure and a training-first design. It’s not just about building systems – it’s about building confidence, clarity and consistency, so churches can focus on what really matters: reaching people and transforming lives.”
www.dbaudio.com
www.e2idesign.com
www.newlifecorpus.com
A range of Chauvet Rogue fixtures provide dynamic lighting
The setup includes five d&b xS-Series 24S-D speakers for the mains
Trust in the system
The Ainos Group has provided a Fohhn Focus Venue audio system to provide even coverage
Church was founded in 1956 and is situated in Jeongnim-dong, Daejeon. Having grown over the years, the HOW has moved home four times – in 1958, 1969, 1981 and 2001. A second campus – Sejong Sansung Methodist Church – was opened in 2018 and is located in Dajeong-dong, Sejong. The 1,440-seat main Daejeon Sansung Methodist Church sanctuary holds multiple services on Sundays and weekdays, bringing together more than 3,000 people worshipping together. The smaller Sejong Sansung Methodist Church has the capacity to hold 500 congregants.
Both campuses belong to the Korea Methodist Church. With the motto “A community where life is restored”, worshippers at Daejeon Sansung Church can choose between five Sunday services: the first provides “freshness and simplicity, reflecting the spirit of the morning”; the second has a more traditional style providing “comfort and familiarity”; the third blends tradition with the freedom of worship; the fourth focuses on praise and worship; and the fifth is a youth service “characterised by freedom and passion”. In addition to the Sunday services, the church holds Tuesday and Thursday intercessory prayer meetings,
Spirit gatherings on Fridays.
The auditorium at the main Daejeon campus has a ground floor and a balcony with a ramp connecting the two seating areas. However, the church had been experiencing problems with its existing sound system that was failing to provide uniform coverage of the entire space, with particular issues with clarity in the balcony. As a result, the HOW made the decision to invest in a new audio setup that would ensure uniform clarity and tone throughout. It was essential for the church that preaching, music and praise could be evenly heard in every seat.
Daejeon Sansung Church had already developed a longstanding relationship with South Korean systems integrator the Ainos Group at one of the church’s previous locations in Yeoryeo. Over the years, the Ainos Group has carried out sound and video system updates for the church, along with supporting them with advice and consultation services. It was this trust and partnership that gave Daejeon Sansung Church the confidence to select the integrator for its latest upgrade.
“The main goals of the upgrade were to eliminate the gaps in the audio and
worship,” explains Daniel Lee, project manager at the Ainos Group. “Another important factor was installing a sound system that would be as unobtrusive as possible. We wanted to install a setup that would provide high sound pressure levels and realtime sound distribution – and choose speakers that were small in size and modern in appearance. A Fohhn Focus Venue system was the best way we could achieve all of these goals.”
The Fohhn Focus Venue is a modular line array system with beam-steering technology and a switchable cardioid function. It is flown in a straight line rather than in the traditional J-shape. Beam dispersion characteristics can be set in real time using software and can be flexibly adapted to any installation. The solution comes with wide-ranging dynamics and low distortion at high levels.
“The straight design of the Focus Venue system allowed us to achieve one of our main aims, which was to provide a speaker setup that blended into the room and didn’t stand out,” continues Lee. “Its beam-steering technology and high sound pressure levels provide a high-quality sound that can be directed exactly where it’s needed,
The Fohhn Focus Venue is flown in a straight line rather than in the traditional J-shape
across both the first and second floors of the sanctuary.”
Lee and his team have installed a main L-R system of one Focus Venue FV-100 and two FV-200 units, along with two PS-800 subwoofers per side. The integrator also specified two LXP-150 speakers per side for side fill and two AT-40 units per side for front fill. One DI-2.4000AES, one MA-4.600ANA and two DI-4.2000AES amplifiers have also been provided. The setup is completed by six AT-07 cabinets per side for underbalcony delay.
“The additional speakers have helped improve overall sound uniformity throughout the venue,” explains Lee.
“Plus, the precise time alignment of the under-balcony speakers has played an important role in ensuring the transmission of clear and even tone. We chose the side fill speakers instead of wedge monitors as they not only improve clarity but keep the stage clear and tidy. We also installed an Allen & Heath DX012 AES/EBU output expander for the church’s dLive console to ensure transparent sound through all the Fohhn speakers and AES/EBU connections.”
Finally, a dLive C1500 has been provided for recording and live broadcast transmissions, which is connected to the main console I/O through Allen & Heath’s GigaACE protocol.
The integrator worked closely with Daejeon Sansung Church on the location of the cabinets, keeping in mind the HOW’s wishes to keep the stage free from speakers and for the entire setup to be as invisible as possible. “In particular, we discussed the positioning of the subwoofers at great length,” adds Lee. “When we submitted our initial plans, the church was unsure about how many subwoofers we had in our design. By communicating effectively together, we were able to reduce the number of subwoofers in our final specification and better utilise the space under the stage rather than on it.”
While the acoustics in the sanctuary itself didn’t cause any problems, the arc-shaped space behind the stage, a large window and the LED display on the stage were reflecting the sound and concentrating it on parts of the audience seating area, as well as hindering monitoring onstage. “We were able to tune the front fill speakers so they were able to prevent the sound from being reflected into some areas of the church,” describes Lee. “The Convertible Dispersion Technology function in the Fohhn system minimises the main sound flowing onto the stage and this was
particularly helpful for improving the monitoring environment onstage.”
The upgrade has resulted in a positive outcome for all involved. “Everyone is very pleased with the new setup,” continues Lee. “The church is located in a beautiful natural environment in the mountains – by installing the Fohhn speaker system, they were able to improve the aesthetic appeal of the interior and provide even sound throughout, making the worship experience more beautiful and comfortable. Everyone is appreciating the difference the new system has made and they are enjoying a more immersive worship environment.”
Now the upgrade at Daejeon Sansung Church is finished, the second Sanseong Church campus is now considering an upgrade to its audio system that will maximise the clarity of sound while harmonising the interior of the chapel. Based on the trust and relationship already built between church and integrator, talks are already underway between the two parties to bring about the completion of a second successful project in the coming months.
ainosgroup.co.kr
www.allen-heath.com www.fohhn.com
The Experts in Beam Steering
Six AT-07 cabinets provide under-balcony delay
On a wing and a prayer
Kling & Freitag VIDA column enclosures have been specified at the Ali Kuşçu Mosque to significantly improve acoustic intelligibility
NAMED AFTER THE FAMOUS
Turkish mathematician, Ali Kuşçu, the IGA Mosque at Istanbul New Airport incorporates a 50m-radius circular sanctuary at its core. Having applied an art deco style to the interior, designer Vision and Function Architecture adorned the exterior with 72 stained glass windows that extend from the ground to the 50m-high dome. The decorative mesh panel window pattern extends up the walls to the dome of the mosque.
Covering an area of 8,070m², the Ali Kuşçu Mosque comprises three primary prayer areas – the 8,000-capacity main dome, the lower level “mahfil” area and the courtyard. The extensive site required intelligible sound reinforcement to fulfil announcements in addition to amplifying the imam’s readings and prayers. Sympathetic to the reverberant nature of the architecture, Dinakord Elektronik applied its extensive experience by supplying and installing a customised Kling & Freitag VIDA Series column speaker solution. Denoting “Versatile Intelligent Digital Array”, the VIDA column enclosures were specified to significantly improve acoustic intelligibility while blending seamlessly into the mosque’s architecture. Each VIDA L module features 48 DSP and Class-D amplifier channels powering six 6.5-inch woofers, 12 3.5-inch midrange drivers and 32 1-inch dome tweeters arranged coaxially. Thanks to integrated beam-steering technology
and a special waveguide system, the design minimises unwanted artefacts up to 10kHz. Through active allocation of the frequency spectrum to all 50
optimised transducers, the VIDA L meets all the requirements of a full-range system down to 60Hz. Offering full system redundancy, the back panel hosts Dante, AES3 and
analogue inputs, providing a fallback switch to a substitute signal. The interconnected transducers are automatically recognised over the Ethernet network and grouped within the software.
“The entire sound system has been optimised to provide an unparalleled acoustic experience with very high Speech Transmission Index values,” commented Dinakord Elektronik’s international procurement coordinator, Ari Cavusyan. “Every element in the audio chain, including the VIDA speakers, is Dante-enabled to ensure seamless connectivity throughout the mosque.”
In addition to fulfilling the installation of the mosque’s display, Crestron AV automation and emergency announcement systems, Dinakord Elektronik’s involvement extended to the integration of the SSP lighting fixtures. “It was an honour to be awarded the contract to fulfil the AV and lighting fulfilment on this project,” continued Cavusyan. “As the first mosque globally to receive the LEED Gold V4 Certificate, Ali Kuşçu emphasised the importance of sustainability. The IGA Mosque project highlights our capability to seamlessly integrate sustainable technology and high-quality audiovisual systems into complex architectural environments.”
www.atlantik.com.tr
www.kling-freitag.com
www.sspworld.com
Dinakord Elektronik fulfilled all AVL components of the project
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How to be a better networker
Mike Dias pays tribute to Rick Muchow and considers how his ability to connect with people is an important skill that can be used to develop deeper relationships within the tech team
THE ROLE OF A TECHNICAL director or engineer on a worship team is often a lonely one. There typically aren’t many other staff members who understand what you do, and as vital as your job is to bring a service to life, if you’re doing that job properly, it’s the service and not you where everyone’s attention is directed. As believers, we’re called to be a community, yet as techs we often neglect this aspect. Networking is vitally important, but it’s a skill many shy away from. There really is no need.
Whenever anyone tells me that they wish that they could be better at networking – you know, meeting and talking to new people without feeling nervous or anxious – I always tell them this story.
Through work, I had developed a deep and genuine love for Rick Muchow, the former worship leader for Saddleback Church. And I’d like to believe that the feeling was mutual. Our backgrounds and beliefs couldn’t have been more divergent, but none of that ever mattered; our friendship was based on respect and on so many overlapping interests. When Rick first learned he had a terminal brain tumor, I couldn’t wrap
my head around it. One day he was playing guitar and he was fine, the next he wasn’t. So there we were on his porch – talking about life and living and death and dying. And I asked Rick about his legacy. I asked him what he thought his greatest impact was. And without hesitation, without even the slightest of pauses or breaths, he said that he will be remembered for his ability to connect with people. He said that his greatest strength was making people around him feel comfortable and helping them know that they belonged. And then he shared this story that forever changed the trajectory of my life. Once Saddleback found out that Rick was going to pass, they threw a massive benefit concert for him where they invited all of his friends throughout the years and everyone got to play his music with him up onstage and share their tributes. (It gives me great joy thinking that some of you reading this right now might have been present for this event or that maybe some of you have seen the video highlights.) Anyway, once the show was over, a gentleman came up to Rick and thanked him so effusively. And Rick, always being
As humans, we crave connection
Rick Muchow
Image courtesy of Rosie Sun
the consummate host but also being unencumbered by social morays, let the man finish but then said to him: “Your words are so kind and gracious but I apologise, for the life of me, I cannot remember when we have ever met before.” And here’s where the moral really kicks in.
The man looked at Rick and said: “You are right. We never actually truly met. But you were always there for me. I was in such a dark and sad place – I was so utterly alone – that I would come to church to hear you sing. Actually, I would come to hear you sing because I noticed that when you would run up to take the stage, you would place your arms on the shoulders of the people in the aisles and sometimes you would touch them on the back or even give them a hug. So I’d get there real early and I’d grab a seat right up front because that was the only human contact –the only touch – that I would get that entire week.”
Networking will create meaningful relationships in your tech team
Image courtesy of KLANG:technologies and Seven Rivers Church
Rick was the light for that man. And that story became a guiding light for me too. It reminded me that loneliness is the driver – that fundamental leveller that makes us all human.
Up until that point, whenever I spoke about networking, I always talked about it in very professional work
terms. You know… like opening doors and playing the favour game. I made a great living giving very surface-level transactional flavours of networking workshops and coaching sessions. But, thanks to Rick, I knew that I could be brave enough to talk about the things that actually mattered. So, I changed my approach completely and instead of talking about networking, I started talking about welcoming and inviting and how to have deeper and more meaningful relationships. Because
here’s where this gets so beautiful. While I realise that the story I’ve told is a bit dark and not really what you were expecting from a “How to better network”-type of article, here’s where this becomes so liberating. If we understand that every human craves connection, then it becomes almost selfish to ever feel nervous or anxious again when it comes to talking with a stranger. Because you just never know. That person that you’re engaging with, who could be a new or existing member of your
tech team, might be needing your conversation and your compassion just as much as that man who sat in the front row waiting for Rick’s touch. Instead of going into each new interaction with trepidation, you get to be empowered knowing that you are spreading light and joy and that you are building bridges that are so desperately needed. When you take that first step and you initiate any conversation, you are opening up an infinite world of potential and possibilities. And at the very least, you get to touch another soul in a meaningful, honest and compassionate way.
I believe that authentic networking is doing God’s work. And I certainly believe that it’s fulfilling Rick’s unfinished business. And when I think of it like that, I can comfortably walk into any room full of strangers and not feel alone or afraid. And I can go home that night knowing that I helped make the world a better place filled with hope, love and kindness simply by being my bestself. To me, that’s what networking represents. And it is my deepest and most sincere hope that from now on, you too get to think about networking in this way.
www.mike-dias.com
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Transforming worship through thoughtful church stage design
Media Mentoring’s Graeme Spencer focal point as you enter the church
AN EXCELLENT CHURCH STAGE design can completely transform the worship experience. It’s more than just lighting and props – it’s about creating a space that reflects your church’s identity, values and message. Whether your services are held solely in the sanctuary or streamed to an online audience, a well-designed stage can powerfully bring your church’s vision to life.
The purpose behind church stage design
When people enter your church, the stage is often one of the first things they see. It sets the tone for worship, helps people focus and communicates your church’s story without saying a word. Every element – lighting, backdrop, props – works together to create an atmosphere that encourages worship and engagement.
A well-designed stage creates a clear focal point, directing attention where it needs to be. It reflects your church’s values, whether that’s tradition, innovation or something else. It can also foster a sense of connection, making both long-time members and first-time visitors feel welcome and helping them engage. And, importantly, it sets the mood for worship, whatever that means for your specific church.
The power of lighting in church stage design
Lighting is one of the most impactful tools in stage design. It does more than illuminate the space – it can create depth, evoke emotion and provide focus. Well-placed front lights ensure speakers, musicians and other contributors are clearly seen. Backlighting adds dimension, making the stage visually engaging. Accent lighting can highlight key elements like a cross, altar or scripture backdrop.
Modern LED lighting allows churches to instantly change colours and, thereby, moods. This flexibility allows the stage to adapt to different services and events without constantly rebuilding it.
that works for every service
For weekly services, consistency is key. A clean, well-planned stage ensures that each gathering feels intentional and polished. A neutral yet visually engaging backdrop provides a foundation that can be easily adapted for different themes. Versatile lighting enhances the experience without requiring frequent physical changes. Technology integration plays a crucial role. Digital screens can display lyrics, scripture and announcements, complementing the overall design. Many churches have adopted LED walls for added flexibility, but these can sometimes limit creativity.
A stage design that relies too heavily on an LED wall risks becoming static and predictable. A balanced approach –using screens as part of a broader design rather than the sole focus –leads to a more engaging worship environment.
Adapting for special events
While a solid stage design should work well for weekly services, certain events require something extra. Christmas, Easter and other special occasions offer opportunities to
Swapping in themed backdrops can instantly transform the look of the stage. A well-placed Christmas tree, a simple nativity scene or an artistic Easter display can change the atmosphere while keeping the core stage elements intact.
Lighting adjustments can also make a significant difference. Soft, warm tones might create a cozy Christmas feel, perhaps a red theme will work well for Good Friday, while bright, fresh colours can bring an Easter morning to life. Modern lighting systems allow for quick changes, so these shifts require minimal effort.
Modular props and furniture make reconfiguring the space for different events easier. Rolling
for a fresh look without a significant investment. By designing with adaptability in mind, a church can create dynamic worship experiences throughout the year.
Incorporating visual elements
Visual elements bring depth and meaning to a stage. They capture attention, reinforce themes and help communicate the message without words. The right imagery, whether projected scripture, artistic banners or carefully selected props, can evoke emotion.
LED walls, screens and projections can all be used to display scripture
A clean, well-planned stage ensures that each service feels intentional and polished
Modern lighting allows churches to instantly change colours and moods
verses, thematic backgrounds or inspiring visuals that change with (or even during) the service. Artwork, banners and handcrafted stage elements add a personal touch and connect the space to the congregation meaningfully.
Balance is key. While visuals can enhance worship, too many competing elements can become distracting. A well-thought-out stage design ensures that each visual element serves a purpose, supporting rather than overwhelming the experience.
Designing for livestreaming
As more churches broadcast their services online, stage design must work both in-person and on-screen. What looks great in the sanctuary doesn’t always translate well to a camera. Harsh shadows, unbalanced lighting and cluttered backgrounds can make the online viewing experience less engaging.
A well-lit, uncluttered backdrop ensures that key elements remain in focus. A clean, intentional design helps direct attention where it needs to be. Considering camera angles is essential
contrast create a visually appealing composition, making the service feel immersive for those watching from home.
Lighting plays a particularly critical role in livestreaming. Cameras are less forgiving than the human eye, so adjustments may be necessary to ensure everything looks balanced onscreen. Harsh spotlights or overly dim settings can cause issues that aren’t noticeable in person but become glaring on video. Testing lighting setups with a monitor before going live can help finetune the design for the best results.
Budget-friendly stage design ideas
A beautiful stage doesn’t have to be
can achieve a dynamic, engaging appearance. Volunteers can create unique design elements by crafting backdrops, painting panels or repurposing materials. Handcrafted props and decorations add warmth and personality. Repurposing existing furniture and décor reduces costs while keeping the space fresh and functional.
For churches with digital capabilities, projection and virtual backgrounds offer an affordable way to refresh the stage regularly. A simple projector can display changing themes, scripture verses or seasonal visuals without requiring new physical props.
Modular and movable elements provide long-term flexibility. Rolling stage pieces, lightweight set structures and multifunctional furniture make it easy to
Collaboration can also help stretch resources. Partnering with other churches to share props, lighting or décor can expand possibilities while keeping costs down. Creative local artists and church members can contribute unique elements that enhance the worship space in meaningful ways.
The lasting impact of thoughtful stage design
Stage design is more than aesthetics –it’s an integral part of the worship experience. A well-planned design enhances engagement, sets the tone and ensures the space reflects the church’s mission and message.
By carefully considering lighting, visual elements, adaptability and budget-conscious solutions, any church can create a stage that serves its congregation well. Whether for weekly services or special events, a dynamic stage design makes every gathering meaningful and memorable. With a bit of creativity and strategic planning, your church stage can become a powerful tool for storytelling, connection and worship.
A good stage layout is essential for the worship team
To busk or not to busk?
THIS SPRING I HAD A WIDE variety of event styles rotate through the venues that I manage. Presentations, musical theatre, choral/instrumental concerts, music festivals, you name it. With short turnaround times and not being able to completely rearrange for each event, it was crucial to have a flexible lighting rig hung, as well as having the console programmed in a manner that accommodated quick control of the system as required for each event.
For linear events, such as a theatrical production, cueing the entire program makes sense as playback remains the same every time the show is run. For non-linear events, such as a concert, festival or presentation, cueing may not be practical as there may be changes communicated shortly before the show starts or even during its run. In my experience in houses of worship, services sometimes embody a bit of both.
When approaching lighting control, there are two main methods used for operating the lights. Cueing refers to the programming of lighting cues –or memories – that are recalled in a predetermined, sequential order. Each lighting look gets recorded, which includes all the controllable instrument parameters and effects settings into a memory. During the running of the event, the operator executes each look through pressing a “Go” button, triggering the recorded memories that recall the settings and effects that were stored.
Busking, on the other hand, refers to manually executing lighting looks by the operator. This doesn’t mean that pre-programming isn’t a part of the preparation process. After all, many modern lighting instruments require dozens, some even over 100, individually controllable parameters. For human operators with two hands and 10 fingers, manually controlling a single instrument would be impossible, much less an entire rig. Whereas a cue records all the parameters and effects of a lighting look and is recalled using a single button operation, a programmer wanting to busk will only program those parameters, effects or groups they want to be able to manually control. These will be assigned to faders or buttons on the console that the operator is then able to manually activate during the event. The question is: when is one method more appropriate than the other? Let’s look more specifically at the uses of each method and how you can use one, or both, in your programming.
When to cue
All modern, computerised lighting consoles have the ability to record and recall cues. In this article, I am not going to discuss how to program a lighting cue as the syntax differs depending on the brand of console you use. However, all cues operate basically the same.
A lighting cue records all the lighting information being output to your system at a given point in time. This
includes intensity, colour, pan, tilt, gobo, effects and other information according to the instruments in your rig. Once a lighting look is established, you can record a cue and then recall that look at any time. Lighting cues exist within a cue list. For simple events, you may program all the lighting cues into a single cue list. Many consoles actually have the capability to program a number of cue lists. More on that later.
A cue list is most often executed sequentially, that is from the first cue at the beginning of the cue list, to the last cue at the end. While it is possible to create cue links to skip around within the cue list, this can become messy and complicated – especially if there are a lot of cues. The programmer can also record time-related data to automate the length of time that cue transitions take. Fade up, fade down, hold, wait, mark and follow times all allow the operator to precisely program
the timing characteristics of executed cues.
Instead of creating links to jump around a single cue list, a better way to program would be to utilise multiple cue lists. This can be quite effective if you need to reuse certain sequences of cues frequently. For example, each worship song can be programmed as its own cue list and saved within a single show file. Then, if a song list changes or the order of songs change, operators can adjust which cue list they are executing during the service, rather than having to jump around within the main cue list.
There are several advantages to programming cues for a worship service. First, it guarantees consistent lighting looks and playback regardless of who the operator is. This makes utilising lighting volunteers a breeze, regardless of the amount of experience that they have. Second, because
Busking means that last-minute changes can be easily accommodated
Programming cues guarantee consistent lighting looks and playback
Image courtesy of Eric Natividad
the entire event and each look are specifically programmed, you can execute complicated lighting looks that may have taken a lot of time to program with 100% accuracy and consistency. Third, while lighting cues can be triggered by an operator, they can also be triggered by a control signal received from an external system, such as QLab or ProPresenter among others. There are a number of methods for automating the triggering of cues and this allows for complicated lighting sequences to be executed exactly in sync with other systems, such as video content or audio events. The disadvantages of programming lighting cues can be that they can lack flexibility if something happens during the event on the fly that wasn’t planned, or a last-minute change is made by the pastor or presenter, leading to last-minute programming. I have found that it is always best to be prepared for anything – including late changes or unanticipated movements within the event. Therefore, I always program a number of general lighting looks that can be executed on a fader immediately if I need them.
When to busk
This brings us to busking, the second main method for executing lighting looks during an event. As previously mentioned, busking doesn’t mean that programming hasn’t happened ahead of time. Instead, it means that the programmer has intentionally programmed and assigned controllable parameters to physical controls so that they can manipulate and control groups of lighting instruments and/or controllable parameters or effects on the fly.
How much gets programmed and what gets programmed is up to the individual programmer and how they plan to manually control the rig to
achieve the desired lighting looks. I highly recommend that if planning to use the busking method, the programmer should be the same person as the operator for the event. This will ensure the smoothest and most effective control of the lighting rig. When planning to use the busking approach, I will carefully plan out
throughout the event, they are able to adapt and react. Second, the lighting operator can respond to the energy of congregants and use the overall energy of the congregation during the service as inspiration to make lighting adjustments that reinforce or support energy fluctuations throughout the service.
what it is that I want to program ahead of time to achieve certain lighting looks. This is where utilising instrument groups, colour palettes, focus palettes, beam palettes and other memories come in handy. Any controllable parameter that I want to be able to recall quickly on the fly will be programmed into a palette memory so that it is easily accessible and recallable.
There a several advantages that the busking method offers. First, as it is not dependent on a sequential cue list, last-minute changes or unexpected things that happen during the event can easily be accommodated. The worship leader decides to repeat the chorus of a song during the worship set? No problem. As the operator is already making lighting adjustments on the fly
There are also several disadvantages. As the lighting system is operated manually, there generally lacks consistency from service to service, even if the operator is the same. The chance of executing lighting looks with exact precision over and over is not high. Second, busking is often more challenging for volunteer lighting operators as it requires knowledge not only of how the console itself operates, but also of how the console was programmed and organised to support busking operations. As mentioned before, I highly recommend using this approach if the programmer and operator are the same person.
When hybrid works
My preferred method, aside from programming a theatrical-style event,
is actually a hybrid model utilising lighting cues and busking. This can be highly effective in that specific lighting looks can be established and recalled when needed (including the ability to sync with external systems), while also having the flexibility to manually adjust other settings. For example, I may program intensity, colour, position and pattern information into lighting cues so that the general look of each light cue remains consistent as designed, and then program all of my effects, specials (front spotlights) and “safe” looks for manual, busk-style control.
The reason that I program effects for manual control is that it gives me the opportunity to adjust the playback rate and size of the effect manually. The speed and size of an effect is a great way to reinforce high or low energy. It also allows me to use a different effect than perhaps I had originally planned if the situation demands it. The reason that I program specials for manual control is that I can then manually adjust their intensity according to what is happening on the stage. If a soloist changes at the last minute, no problem – I don’t have to reprogram any cues to light a different soloist standing in a different stage zone. Last, I program some “safe” looks to ensure that I can bring up a default lighting look if something completely unexpected occurs during an event.
Both cueing and busking have their merits and there are situations where one method is more appropriate than another. Neither approach is “right” or “wrong”. I encourage you to try both out. Learn which system works best for you, your technical team and your service programme(s). It may just be that if you’ve only used one method, a combination of the two will open new, creative lighting possibilities you hadn’t previously considered.
Once a lighting look is established, you can record a cue and then recall that look at any time
An open conversation
A manufacturer-led approach to the development of a true open-standards audio networking protocol, Milan is aiming to become the industry’s preferred choice for connecting audio devices
ONCE UPON A TIME, THE infrastructure required to send signals and information between devices was relatively basic and, as a result, communication was established using only rudimental point-to-point copper cabling. But as the number of devices used inside a system continually grows, so to by extension does the number of links connecting those devices together. Eventually, the pointto-point approach no longer makes sense, and a more comprehensive network of signals was developed as the preferred method. The IT world has already pioneered this approach so that everyone on the globe is now able to use their internet-enabled devices seamlessly with one another thanks to universally accepted open wireless and TCP/IP transport standards. The audio industry is still a bit further (but not that far) behind and, until recently, lacked a true open standard. A proprietary approach championed by Audinate ultimately become the industry’s preferred route for IP networking, and has remained in the number one spot for going on a decade. You no doubt already (and have happily been) use various Dante-enabled pieces of kit inside your campus time.
While Dante has evolved to become a complete AV-over-IP platform, it started life simply as an interoperability standard for
audio transport. To achieve this at its most basic level, guaranteed delivery of high-quality audio, not subject to dropouts or latency, is required. However, the industry must also realise this using a long-term, stable and viable platform. When making decisions about networking infrastructure, end users must be confident that they’ve chosen an enduring standard and a network that can support them as their media and data needs scale – suiting them both now and into the future. This is where an open platform starts to make sense.
In the last few years, a collection of audio manufacturers has been pooling their expertise on such a method. Named Milan, it offers the industry a compelling open alternative and is quickly gaining popularity.
The main challenge to overcome initially was the fact that IP networks lack a crucial feature needed for real-time audio-video transport. They are inherently non-deterministic, which is vital for ensuring accurate synchronisation, low latency and reliability. This signal transport challenge was solved with AVB (Audio Video Bridging) some time ago, but there still wasn’t a coherent approach to making devices talk the same language. This is what Milan does, which inherits all the benefits of AVB technology and Morten
Lave
more. Of special value in converged networks (networks that are shared between several subsystems such as audio, IT/data and video) is no further need to isolate the subsystems to guarantee congestion-free operation. As an open solution, Milan also offers investment security while rendering the networking part of a system “transparent” to the user, enabling them to focus on delivering the best audio experience to the audience. It’s a subject close to the heart of Morten Lave, who helped develop the Milan standard while at the Avnu Alliance before driving its adoption at Adamson. He now works at Joyned with co-founders Fabian Braun (who also helped foster Milan adoption during his time at d&b audiotechnik) and Richi Rozas.
“When Ethernet was originally created, it was actually not designed to do anything in real time or guaranteed, it was always a ‘best effort’ network,” explains Lave. “That was fine for most things such as file transfers and talking to a printer. But already in the late 1980s, the automotive industry
needed something deterministic to control their robots. The use of Ethernet prevailed just because of its huge uptake in enterprise markets.”
Proprietary approaches such as Dante are able to squeeze deterministic performance out of the non-deterministic network provided there is enough bandwidth available as a buffer. “The problem though is you never have enough bandwidth,” Lave furthers. “When you start pushing video through, things break. That’s why typically in these networks that are trying to do both audio and video with classic Ethernet, a separate network for command and control is needed.”
“We, of course, want to live in a world where everything converges to one network,” adds Braun. In layman’s terms, AVB is essentially the next generation of Ethernet, providing this much sought-after deterministic behaviour. “Just like when the 802.11 wireless standard was invented, a trade association was created called the Wi-Fi Alliance that attempted to harmonise everything. They had the technical standard from IEEE but still needed an industry-wide interoperability standard to make sure everything could talk to each other. Nowadays, you can walk into any coffee shop and your phone connects right away.”
Back in the audio world, the Avnu Alliance was created for a similar purpose, resulting in the Milan interoperability standard. Milan is what allows AVB devices to communicate. “It’s why you can take an L-Acoustics P1, send audio to an Adamson CS10 and also route it through a Meyer Sound Galaxy without even thinking about it. Everything just works as long as you support the same sample rates.”
Milan incorporates a number of key features that have been designed to redefine professional audio networking, such as precise synchronisation, interoperability and a unified ecosystem, reliability and prioritisation, and streamlined configuration.
“A key consideration is the strategic dependence of manufacturers on a single source,” says Braun. “With
Dante, bandwidth management becomes a critical task for IT professionals, requiring vigilant monitoring to ensure reliable performance. Unlike Dante, Milan operates within the AVB standard, where AVB switches inherently understand their capabilities, eliminating the need for oversubscription. This means that Milan delivers exactly the bandwidth required, without surplus, ensuring that the non-reserved bandwidth remains guaranteed for control traffic and other essential functions. This configuration greatly enhances robustness and reliability, while eliminating the hassle of switch configuration.”
In particular when it comes to houses of worship, the openstandards Milan approach could pay dividends. Comparing Milan to protocols such as Dante, it’s clear both aim to deliver high-quality audio streaming over Ethernet networks and to achieve interoperability between different devices. “However, Milan stands out for its tight synchronisation and adherence to the AVB standard,” notes Lave. “In addition, Milan minimises configuration headaches, offering a more streamlined and user-friendly experience. By offering a futureproof protocol, Milan not only meets the stringent requirements of pro AV but also places the users at the centre as it simplifies both network management and administration.”
In the house of worship environment, where professional
audio gear and more MI-focused products are often tightly integrated, this single-network approach benefits not only manufacturers, but also end users. If compatible, just plug things together.
“With AVB, you don’t require an IT person to be with you – you simply connect things, everything is plug and play,” adds Lave. “And compared to Dante, the node cost is low enough to make things viable for the MI market, where some of the Audinate cost is prohibitive to reaching down into that market. That in particular is where we see a huge potential for this open technology.”
“We’ve done a lot of market research over the course of the last three years and the thing we constantly hear about the existing solutions available in the market is that users struggle with switch configuration,” says Braun. “If there’s more than 10 endpoints on the network, then things start to get complex. Milan stays plug and play.” And if you’re planning any big upcoming equipment investments, maximising longevity is essential. “From an end user perspective, the whole experience is just better,” adds Rozas. “What’s more, it’s something that the whole industry is now getting behind, not just one or two big players. As far as we’re concerned, Milan is the future of audio networking.”
www.joyned.at
L–R: Fabian Braun and Richi Rozas at this year’s ISE
RTMP vs RTSP
STREAMING CHURCH SERVICES
online has become a powerful way to extend your congregation’s reach, streaming makes it possible for your congregants to access your services anytime, anywhere.
But the quality of that experience hinges on choosing the right streaming protocol. RTMP (Real-Time Messaging Protocol) and RTSP (RealTime Streaming Protocol) are two leading options that each offer unique advantages. RTMP is known for its ability to handle high-performance live video streaming, while RTSP excels in real-time audio and video transmission.
Both protocols can elevate the quality of your livestream, helping your church connect with members near and far, and understanding their differences is key to making the best choice for your ministry.
Originally developed by Adobe for Flash, RTMP became a go-to protocol for livestreaming because of its ability to deliver low-latency video. Although its early use was centred on Flash Player, RTMP has adapted over the years and is now widely used to stream live content on platforms like Facebook and YouTube. Its structure helps maintain video quality and
reduce buffering, making it ideal for events, webinars and social media streams.
RTSP is mainly used in environments where direct control of video feeds is essential, such as IP cameras and security systems. It’s designed for applications that require real-time access with minimal delay, making it perfect for internal streams and video conferencing. RTSP is particularly useful in scenarios where immediate access to live footage is critical, offering a reliable way to manage media streams within closed networks.
RTMP is well-known for its compatibility with major streaming platforms, making it an easy choice for livestreaming to YouTube, Facebook Live and various CDN providers. Its seamless integration with these platforms allows content creators to reach large audiences without much hassle. RTSP, on the other hand, isn’t as widely used for public streaming. Instead, it shines in more specialised environments like security systems or corporate networks, where reaching the public isn’t the main priority. When it comes to latency, RTMP is great for streaming with minimal
delay to public platforms, ensuring that viewers experience content in near real time. This is crucial for live events where immediate interaction is important. RTSP, meanwhile, is better suited for internal networks. It delivers low-latency streams in environments like video conferencing and monitoring systems, where quick access to live footage is critical.
RTMP offers solid control over video and audio quality, making it ideal for professional broadcasts where high quality is a priority. Its flexibility in adjusting compression settings also helps balance quality and bandwidth use. On the flip side, RTSP focuses more on steady, real-time streaming in local environments. It works well even with limited bandwidth, though it may offer less flexibility in compression settings compared to RTMP. Setting up RTMP is usually straightforward, with most public platforms offering built-in support and easy configuration options. Depending on the platform, there might be a few extra steps to fine-tune performance, but it’s generally userfriendly. RTSP, however, often requires a more technical setup. It’s typically used in specialised scenarios where understanding network configurations
Streaming makes it possible for worshippers to access services anytime
Think about your church’s digital goals and how each protocol supports them
Image courtesy of TBCo, Nashville, Tennessee
is important, making it better suited for users with more technical expertise.
For churches looking to engage a large audience, RTMP is a top choice. It integrates seamlessly with platforms like Facebook Live, YouTube and Twitch, making it easy to broadcast services to a wide, diverse audience. This allows churches to effectively share their message of faith across popular digital channels, reaching people wherever they are.
RTMP’s compatibility with multiple platforms is a major advantage for churches that want to grow their online presence. Its versatility ensures that sermons and events can be accessed by viewers on their preferred platform, whether local or global. This makes it easier to connect with a broader audience and create a sense of inclusivity within the church community.
platforms and a broader audience, while RTSP works best for localised, internal streaming. Understanding your audience’s needs will help you align your streaming strategy with your church’s outreach goals.
One of RTMP’s strengths is its ability to give users control over video quality and bitrate. This flexibility allows churches to maintain high standards for both video and audio, ensuring that livestreams are clear and impactful. With the ability to fine-tune settings, RTMP helps churches deliver a viewing experience that reflects their commitment to sharing their message with excellence.
RTSP is a great fit for churches that need to manage private streams or internal broadcasts. It’s especially useful for streaming services within the church’s local network or to specific areas of the building. This setup is perfect when you need a secure, controlled streaming environment that’s not intended for public viewing. RTSP excels in situations where real-time video is a must. It’s ideal for applications like security systems, multi-room broadcasts or local events that need instant access to live footage. Churches can use RTSP to ensure that various parts of the building receive synchronised video feeds without
the delay you might experience with public streaming.
RTSP works well with IP cameras, making it a solid choice for internal video monitoring and surveillance. Churches can use RTSP to manage overflow rooms or private sessions that need to be broadcast within the building or over a secure network. Its seamless integration with surveillance systems ensures reliable, secure streaming for any internal needs.
Before choosing a streaming protocol, it’s important for churches to think about who they’re trying to reach. Are your viewers primarily inside the church, or are you looking to engage a wider online community? RTMP is better suited for reaching public
Got Sauce?
Your choice should also consider the equipment you have and your budget. Take stock of your current setup, including IP cameras and network infrastructure, to see if it’s compatible with RTMP or RTSP. It’s also important to factor in the complexity of the setup and the resources needed to manage each option. A well-planned budget that covers both current and future streaming needs will help you create a cost-effective, efficient system that fits your church’s capabilities.
When planning for the long term, think about your church’s digital goals and how each protocol supports them. If expanding your online presence and reaching a global audience is a priority, RTMP might be the better option. But if internal communication and localised outreach are more important, RTSP could be a better fit. Considering how these protocols align with your future plans will help your church build a strong, sustainable streaming setup.
www.resi.io
Art-Net vs sACN
Advatek considers whether you should use Art-Net or sACN for your data transmission
YOU’VE PROBABLY SEEN BOTH Art-Net and sACN around and maybe you’ve even used them, but have you ever wondered what the difference is? As it turns out, they both offer different ways of achieving the same aim: to get DMX data from your lighting console or software to your pixel controller. This article will help you understand each one and determine which you should select for your application.
Broadcast, unicast and multicast
Before diving into the benefits of these protocols, we first need to understand the ways in which they transmit their data. There are three ways that this network data can be delivered: broadcast, unicast and multicast. In Figure 1, pixel controllers A and B require the same universes from the sending software, whereas pixel controller C does not.
In the first configuration, the sending software will transmit the DMX universe to the network, which will deliver it to all three pixel controllers. This one-to-all method is called
broadcast. It ensures no device gets excluded from any data, but it will likely cause devices to receive unnecessary traffic – especially when working with a high universe count.
The second configuration uses the unique IP addresses of each pixel controller to deliver specific
data to each. The sending software will transmit the universe to pixel controller A, on its IP address, and then do the same for B, on its IP address. This one-to-one method is called unicast. It relies on the knowledge of each device’s IP address, to ensure that devices only receive what the
sending software intends. While this method avoids pixel controller C from receiving unnecessary data, it also means that the universe has been transmitted twice, increasing overall network traffic.
The final configuration reduces both network traffic and unnecessary
Figure 1
Image courtesy of Bespoke Lighting and Video
incoming data. The sending software transmits the universe once, and the pixel controllers will subscribe to any universes they need. Pixel controllers A and B will signal the network to subscribe to the universe, and so the data is sent to these two devices but not to device C. This one-to-many method is called multicast and relies on IGMP (Internet Group Management Protocol) snooping.
Art-Net is designed for broadcast and unicast. sACN is designed for unicast and multicast.
Reducing network traffic
Network traffic is increased when universes are transmitted more than they need to be. In broadcast and multicast, each universe is transmitted only once. In unicast, each universe is transmitted as many times as there are pixel controllers who need it. If two controllers need the same universe, then it is sent twice, one per IP address. It is worth noting that in many pixel applications, each controller requires unique addressing anyway. So, the advantage
of transmitting a universe once and multicast delivering it multiple times may not be applicable.
Art-Net may switch a universe to broadcast if it detects too many duplicates being sent – this has its downsides. If network traffic is a large consideration for you, multicasting via sACN might be best for your application.
Reducing irrelevant incoming data
When Art-Net was first developed, it was used for transmitting a small amount of data. Because of this, broadcasting was not an issue. In modern light displays, however, hundreds of universes may be needed. If all this data is broadcasted, the devices might not be able to handle the sheer volume of data and could result in dropped packets. To avoid this, we need to stay away from broadcasting. Unicasting will achieve this; however, Art-Net can still result in broadcasting if it detects too many duplicate universes being sent.
sACN, on the other hand, was built specifically for large pixel systems. This is why it prohibits broadcasting data.
The only time where broadcasting sACN can effectively occur is in the event of a poorly designed network.
If you want to ensure your network devices are not flooded with irrelevant incoming data, then a multicasting sACN approach might be what you need.
Simplifying setup
While a lighting display doesn’t require a networking degree, there are some aspects to your setup that might benefit from some basic networking knowledge. If you’re just starting out, then an Art-Net approach might be a good method for you, as it will be compatible with most networking equipment and probably won’t require much more configuration than managing IP addresses.
sACN, although offering many benefits, typically requires knowledge of some network design concepts. In order to properly multicast, you’ll need the correct equipment and appropriate device configuration. If IGMP snooping is not supported or properly configured, it might result in the multicast data effectively being broadcast, or not even delivered at all.
Reducing setup time
Since the release of Art-Net 4, setup time has been dramatically reduced, allowing for proper automatic discovery of pixel controllers on a network. While previous versions allowed some form of discovery, the fourth generation now provides sending software the ability to discover devices with many universes correctly. Unicasting with Art-Net is therefore made quick to set up, as all the IP addresses can be discovered for you.
sACN was built for multicasting, which provides the ability for pixel controllers to subscribe to the universes they need. This means that when setting
up the sending software, you won’t need to worry about which IP address belongs to each controller. Previous versions of Art-Net could not compete with the fast setup time of sACN; however, with Art-Net 4, both protocols now boast impressive setup times.
Stabilising connections
When a light display is running, it’s imperative that connections remain stable. A connection that is often overlooked is the IP address of the pixel controller. If this address is changed, it needs to remain operational. Unicasting through Art-Net requires stability of the addresses of all devices. If an Art-Net device loses its IP address, it will need to be rediscovered in sending software for it to become operational again. For this reason, Art-Net installations will typically be set up to use static IP addresses.
Multicasting through sACN works regardless of the IP address of the pixel controllers. If something happens to a controller’s IP address (for example it is changed by a DHCP (Dynamic Host Configuration Protocol) server), it will seamlessly continue receiving the multicast traffic without human intervention. Whether your network will benefit from this behaviour will depend on your application.
The final factor to consider is whether your lighting software and pixel controllers can support either of these protocols. If your pixel controllers provide support for both protocols, your choice might depend only on what your lighting software supports. If your lighting software supports both and you’re still not sure which one to choose, get in touch with your controller and software manufacturer and see if they can help.
www.advateklighting.com
In modern light displays, hundreds of universes may be needed
NEWPRODUCTS
Adamson adds to the Vergence Group
ADAMSON HAS released the latest addition to its Vergence Group – the VGs – described as “a new benchmark in low-frequency performance for the most demanding scenarios”. The VGs is the second member of the Vergence Group and is a powered subwoofer built upon the foundation of the low-end range of the manufacturer’s E-Series E119 subwoofer, combined with a custom-designed and in-house manufactured, single-channel 6kW Class-D amplifier with onboard DSP. Loaded with a single, lightweight, long-excursion 19-inch SD19 Kevlar neodymium driver using Adamson’s Advanced Cone Architecture and Symmetrical Drive Technology, the VGs is capable of reproducing frequencies from 29–100Hz. It has an onboard amplifier and weighs 72.5kg, delivering a peak output of 139dB. The VGs includes analogue audio connectivity as well as redundant and daisy-chainable Milan AVB plus comprehensive DSP assigned and modified via Adamson’s ArrayIntelligence software. Critically tuned presets allow the VGs to be deployed in a multitude of often-used cardioid arrangements, including front-back, front-back-front and end fire. A turnkey upgrade kit will be available for any existing
E119 users to quickly and easily convert their inventory.
Using the ArrayIntelligence software allows the VGs to be combined with the VGt as well as Adamson’s CS-Series, while the Adamson Bridge provides integration with all legacy groundamplified systems. Features include “effortless” control, enhanced monitoring capabilities and streamlined deployments in both mobile and installation environments.
The manufacturer has also announced the launch of the MG10, a dual 10-inch stage monitor loudspeaker with a 60Hz–20kHz frequency range. Capable of producing a maximum SPL of 139dB, the MG10 has an integrated 2-channel Class-D amplifier, which delivers a 2,400W total output. This is combined with Adamson’s proprietary onboard processing and a 50° x 100° (HxV) coverage pattern.
version – the M10 –offers 8Ω impedance
The speaker measures 52cm x 32cm x 54cm (WxHxD), weighs 26kg and features an integrated pole mount and a kickstand that allows up to a 45° face tilt, making it suitable for a wide range of applications, from floor monitoring to elevated installations. A passive
for computers with multiple network adapters; user-selectable direction of initial sync between remote and engine; the ability to import software preferences from the previous version of the remote; and improved redundancy mode for setups with multiple engines. The leader/follower hierarchy for multi-remote configurations has also been updated.
and new EQ overlays and presets for ultra-compact line arrays in stacked (3–6 cabinets) and pole-mount (2–3 cabinets) configurations. An updated amplification chart now includes the M10, and limiter settings for all ultra compact line and point source presets have been corrected to ensure optimal protection and performance.
www.adamson.ai
d&b unveils new compact cardioid line array
FORMING THE first product in the CL-Series, the CCL System (Compact Cardioid Line Array) has been unveiled by d&b audiotechnik. The system provides broadband directivity control with low-frequency cardioid behaviour in a passive design, enabling single-channel amplifier operation, said to be an industry first in the compact line array category. The CCL features a revised implementation of a patented d&b design to bring the cardioid directivity and electroacoustic performance formerly only available in d&b SL-Series models to smaller, closer audience areas and a broader range of customers.
At the heart of the system are two 7-inch front-firing drivers, two 5-inch side and rear drivers and two 1.75-inch high-frequency transducers with a completely new design. This approach combines low-frequency
and broadband directivity control with high-frequency headroom and minimal distortion, “unmatched by anything else on the market”, according to the manufacturer. Designed to reduce system infrastructure complexity and cost, the CCL requires minimal logistic and implementation efforts. With a lightweight, compact form factor, it utilises less truck space and fewer amplification and cabling resources in mobile applications. In installed scenarios, the cardioid low-frequency behaviour improves the perceived sound quality in both indoor and outdoor venues, while the sleek design integrates into any space.
The CCL follows d&b’s traditional approach and will be available in both mobile (CCL) and installed (CCLi) configurations, as well as 80° (CCL8) and 120° (CCL12) horizontal dispersion versions. Its
JBL boxes clever with PRX900
extensions
WITH THE PRX925 and PRX935 loudspeakers, JBL Professional has extended its PRX900 powered portable PA series to seven models. Integrating advanced acoustics, DSP and BLE control, the PRX925 is a 2-way, dual 15-inch enclosure designed for larger spaces that can utilise additional low-end support. As a 3-way, single 15-inch system, the PRX935 is engineered towards mid-frequency range performance and vocal clarity at full volume. Providing full system control for up to 10 JBL app-enabled speakers, both PRX models are managed by the JBL Pro Connect App. The audio parameters can also be configured from an onboard colour LCD that includes a 12-band parametric EQ. DriveRack technology includes Automatic Feedback Suppression (AFS), system limiter and 180ms of speaker delay in 100μs intervals for precise time-aligned systems.
Housed in 18mm birch cabinets with optimised bracing, all PRX900 models
contained dimensions (209mm x 593mm x 355mm) and light weight (18kg) make it an easyto-rig solution for tours, festivals and larger events, where it can complement SL-Series arrays as side- or in-fills.
For permanent installations, the CCL System is most suited for acoustically challenging spaces such as houses of worship. Complementing the system is the CCL-SUB, a flyable subwoofer available in both mobile and install versions. The passive cardioid design features a front 15-inch and a rear 10-inch driver configuration. The CCL-SUB offers reduced port noise and extended usable bandwidth, particularly when deployed in mixed arrays with the CCL System.
www.dbaudio.com
Audiofocus launches ELIZ system
are reinforced by a 7-year warranty. Powered by internal 1,000W RMS Class-D power amplifiers, the JBL 915H 15-inch ferrite magnet woofers together with the 2408H-1 and H-2 1.5-inch compression drivers provide detailed highfrequency response. I/Os include dual XLR balanced combo jacks, a 3.5mm aux, dual XLR-M loopthroughs and an XLR-M mix out. Two integrated side handles, a 36mm pole socket and eight M10 suspension points extend a versatile feature set.
AUDIOFOCUS HAS unveiled the ELIZ 210, a compact, versatile line array series targeted at rental companies, performance venues and houses of worship. Like other recent Audiofocus releases, the ELIZ 210 employs V-mounted twin 10-inch Tetracoil double voice coil LF transducers for enhanced low-end performance, precision control, faster impulse response and improved transient handling. The LF design is complemented by a next-generation 4-inch titanium diaphragm HF compression driver, selected for its linearity and mid-band clarity. A preliminary SPL figure of 140dB Mtone has been given for the series, with a frequency response of 55Hz–19kHz. The 90° x 8° dispersion of each ELIZ 210 cabinet can be adjusted to 70° using the M-Flexion system of custom 3D printed magnetised ABS horn plugs. These plugs can be inserted and removed without tools, allowing the same ELIZ system to be quickly tailored to the coverage requirements of different spaces, or to manage reflections from hard surfaces. Alongside the bi-amplified ELIZ 210, the self-powered ELIZ 210a variant has an integrated Class-D amplifier and the ability to remotely monitor and control the system using its SCiO management software.
In addition to bearing the same audio signature and core components, ELIZ shares its rigging frame, hanging bar and 118S subwoofer options with Audiofocus’s ARRoCC constant curvature series, allowing rental partners to assemble a cost-efficient, flexible inventory of loudspeakers and accessories capable of handling short-, medium- and long-throw scenarios.
www.audiofocus.eu
CCL System
CCL-SUB
SEAMLESS INTEGRATION
when integrating your DiGiCo SD or Quantum Range console with any KLANG processor, offering immersive in-ear mixing.
• Deeply integrated workflow, enabling seamless KLANG integration on the fly.
• Standalone functionality - no additional control computer required.
• Lower Levels. Better Mixes. Less Fatigue.
SOFTWARE UPDATED SPEEDY SET-UP
Adorned with sound
EXPANDING ITS contractor series of ADORN ceiling, pendant and onwall loudspeakers, Martin Audio’s compact ADORN A80T is a 2-way passive speaker comprising an 8-inch LF driver and a 1-inch polymer dome HF compression driver on a 90° x 50° horn. It handles 200W AES, 800W peak and can produce
120dB peak output at 1m. It has a smooth frequency response and bass reproduction that extends down to 63Hz. With a nominal impedance of 8W, multiple speakers can be driven in parallel from a single channel of a low-impedance amplifier, such as the Martin Audio VIA2502 or VIA5004. The A80T also incorporates a high-
NEXT Audiogroup introduces the SP12
PORTUGUESE MANUFACTURER
NEXT Audiogroup has unveiled the SP12, a high-output, full-range, 3-way point source system designed for sound reinforcement in a wide range of applications. The speaker incorporates dual 12-inch neodymium LF drivers and an advanced coaxial 2-way ring radiator, coupled with an externally rotatable 80° x 45° waveguide. The combination of the waveguide and the dipolar configuration of the 12-inch drivers provides controlled directivity down to approximately
quality transformer for 70V/100V line operation, with transformer taps selected by a rotary switch, and can be powered by the VIA 5002. The company says its Martin Audio signature sound characteristic also provides a seamless sonic transition within a multi-zoned complex using larger Martin Audio systems such as the CDD or BlacklineX.
www.martin-audio.com
QSC unveils “K Column”
500Hz, maintaining a consistent dispersion pattern. The SP12 is equipped with a 3-channel, networkcapable Class-D amplifier, providing a peak output of 3,840W. The onboard advanced DSP operates at a 96kHz sampling rate, monitored via X-NET software for precise sound management. The graphical interface provides control and real-time monitoring of all audio systems within a venue. The system automatically discovers and maps the network positions of cascaded speakers for seamless integration and management. The X-NET software provides individual control over key parameters such as equalisation, level, phase and delay, and allows unlimited groups to be created, enabling multiple units to be grouped and managed collectively. The system’s automatic fallback feature ensures maximum reliability, providing input signal redundancy between analogue and digital (AES or Dante) sources.
The SP12 has been designed for a variety of applications, including houses of worship and as a side fill www.nextaudiogroup.com
Long-range announcements
TOA ELECTRONICS Europe has released two speaker series designed for diverse applications. The long-range Horn Array (HA) Series has been engineered for outdoor mass notification and disaster prevention. The design focuses on delivering clear, intelligible voice announcements over long distances while minimising vertical sound dispersion and reducing noise interference. The horn configuration reportedly ensures precise sound direction with minimal
spillover, making it suitable for critical scenarios where reliable communication is paramount Created for indoor and outdoor applications, the F-BOX Series of surface-mount box speakers comes in three sizes (3.5-inch full-range, 5-inch 2-way and 8-inch 2-way) as well as an 8-inch subwoofer. The speakers are all available in black or white, as well as in an EN 54-certified version. Each model – including the subwoofer –is designed to be compatible
QSC HAS announced an expansion to the K Series with the introduction of the “K Column” KC12 active 3-way column loudspeaker. Offering 3,000W of power, the KC12 reportedly surpasses the acoustic performance of conventional designs. Available in black and white, it’s suitable for a wide range of customers and applications. The KC12 features QSC’s patented LEAF waveguide first introduced in the L Class active line array, combined with a 1-inch compression driver, two 4-inch midrange drivers and a high-output 12-inch subwoofer. The system produces a full-range horizontal coverage of 145° and 35° of vertical coverage.
The system features three inputs: Bluetooth combined with a 3.5mm TRS stereo input, as well as two combo XLRs with assignable factory presets for each XLR input, making the solution ideal for small events where two microphones are needed for different uses. The rear panel incorporates a multifunction digital display, offering control of several loudspeaker functions, including Global Parametric EQ, Subwoofer level, Presets and Scenes, Bluetooth configuration, Delay or Reverb. Bluetooth functionality also provides True Wireless Stereo (TWS), which ensures low-latency pairing
between the music source and both L-R loudspeakers simultaneously. Additionally, the KC12 can be deployed with or without its lower column pole, making the system ideally suited for a floor, riser or raised stage.
www.qscaudio.com
Bosch debuts LAS-BEAM steerable column family
BOSCH HAS released its LAS-BEAM loudspeakers designed to achieve high speech intelligibility for critical applications, such as houses of worship. The speakers can be combined with PA/VA systems like Praesensa via 100V line and line level audio. The speakers offer integrated fault indication where faults are reported via the 100V line or a fault contact to the Praesensa PA/VA system.
The series comprises two units – the LAS-BEAM-S and LAS-BEAM-L – as well as associated brackets, extender sets and a configuration interface.
The 19.7-inch LAS-BEAM-S features four 3.5-inch drivers, each powered by a dedicated 100W amplifier channel with processing via an onboard DSP module. This creates a single, steerable beam with a typical throw of 15m. The larger 35.4-inch LAS-BEAM-L features eight 3.5-inch drivers, each powered by a dedicated 100W amplifier www.boschcommunications.com
Mix-and-match audio
BOSE PROFESSIONAL has released two AMU multi-use loudspeaker models – the AMU108-120 and AMU208-120 – as well as two mounting accessory options. The additions have been designed to provide wider coverage options while maintaining high-output sound.
The AMU108-120 features a constant directivity horn with a redesigned waveguide, delivering a wide and even 120° x 60° coverage. It is equipped with a Bose Professional LF8 8-inch woofer, producing 121dB peak SPL and a frequency response of 80Hz–16kHz.
The larger AMU208-120 boasts the same 120° x 60° high-frequency coverage, combined with dual LF8 8-inch woofers. This configuration delivers a 126dB peak SPL and a frequency response of 70Hz–16kHz.
AMU Series mounting accessories also provide expanded installation possibilities and include a new pole adapter and suspension rail brackets, as well as stainless-steel U-brackets, surface-mount pan and tilt brackets, and single-point suspension brackets with multiangle attachment points. All AMU Series loudspeakers come with
Audix elevates the low end
WITH THE release of the D6X, Audix has created a next-generation version of its most popular microphone. Extending the capabilities of the classic D6 kick drum, the D6X features a recessed, no-tools-required switch that selects between three frequency response profiles. Identical to the classic D6, “Deep” is a starting point, whereas “Balanced” provides more midrange and upper midrange, and “Natural” selects a more linear response, with an adjusted high-end roll off. This latter position suits experimentation on sources with a
Powersoft unveils
Nota
amplifier
NOTA IS a compact PoE/PoE+ amplifier from Powersoft that provides 140W of power across two channels in a pocked-sized footprint, making it suitable for a wide variety of installations. Its ability to transmit power and data via a single Ethernet connection streamlines installation, reducing costs and minimising wiring complexity.
Nota’s features include onboard DSP capabilities, speaker health monitoring and full control via both Powersoft’s ArmoníaPlus software and third-party APIs. The amplifier’s USB-C connectivity allows easy integration with external multimedia devices, doubling as
a USB-to-AES67 converter for enhanced system flexibility, while its automated setup automatically matches the impedance curve of connected speakers and applies a high-pass filter, protecting speakers from potential damage by ensuring efficient power transfer.
Nota is rated for plenum mounting in enclosed spaces, and the provided kit allows multiple installation configurations on flat surfaces, poles and DIN rails. Additionally, remote monitoring via Powersoft’s Verso gateway and MyUniverso software provides realtime diagnostics from anywhere.
www.powersoft.com
a UV-resistant finish and an IP55 outdoor rating.
To further enhance the performance of AMU systems, users can incorporate the MB210-WR dual 10-inch weatherised subwoofer.
with a textured matte finish and steel
fuller range of frequency content, including as Latin percussion or guitar amp cabinets. Providing natural, distortion-free sound capture, the VLM (very low mass) mic diaphragm handles high SPLs and is paired with a transformerless output circuit to minimise impedance and eliminate interference.
Resembling the original D6, the enhanced design of the D6X features a black anodised aluminium housing
The US brand has also extended the PDX dynamic vocal series with the PDX520 studio microphone. Building on the PDX720 Signature Edition, the PDX520 captures a natural, warm feel for longform content and intelligible broadcasts. Featuring a cardioid polar pattern for optimal sound isolation, the VLM dynamic capsule is engineered to deliver deep lows and precise transients. At the rear of the mic, a two-toggle switch includes a setting for a high-pass filter with
Additionally, PowerShareX amplifiers also offer factory-optimised presets for peak AMU performance and simplified installation.
www.boseprofessional.com
a cut-off frequency of 80Hz with a 6dB per octave slope that eliminates possible rumble. The second switch adds a presence boost between 1kHz and 5kHz with a maximum increase of 3dB. Optimised for the spoken word, the PDX520 is designed with plug-and-play gain and comes with an internal vibration dampener which eliminates the need for a separate shockmount. Packaged with a 5⁄8 - to 3⁄8 -inch adapter for easy mounting, the PDX520 also inherits the versatility of the PDX720 for applying on bass amplifier cabinets, outside-the-head kick drum miking and horns.
www.audixusa.com
Dynamic to the CORE
DPA MICROPHONES’ CORE+
technology is a patent-pending development that aims to set a new standard for distortion-free microphone sound by eliminating the non-linearities typically generated by the membrane and electronic components of a microphone. The CORE+ neutralises distortion across the entire dynamic range of the microphone, making any residual noise imperceptible and virtually unmeasurable in both recorded and amplified content. It also reduces the impact of unpredictable challenges in live sound environments, such as when the talent speaks or sings at louder volumes.
The implementation of the CORE+ requires a redesign of DPA microphones, which the company plans to accomplish with an updated roll-out across its portfolio. The first to be addressed are the 5mm omnidirectional headsets and lavaliers, including
the 4060, 4061, 4071, 4661, 4066, 4266 and 4466. All DPA microphones incorporating CORE+
characteristics, current users will be able to mix the enhanced CORE+ solutions with their existing
specifications, including dynamic range and noise level. To illustrate the advantages of the diminished distortion, DPA has implemented a new THD performance reference point – THD <0.5%. As all DPA microphones share the same sonic
Wireless on the GO
RØDE HAS unveiled the third generation of the Wireless GO microphone platform. It features 32-bit float onboard recording, intelligent GainAssist technology and a host of new features. For the first time in the history of the RØDE Wireless range, the Wireless GO is available in an expansive suite of limited-edition colours, as well as black and white. Wireless GO (Gen 3) is a dual-channel compact wireless microphone system, utilising RØDE’s Series IV 2.4GHz digital transmission with 128-bit encryption for audio at ranges up to 260m (line of sight). It also boasts over 40 hours of 32-bit
The versatile MicroLock is a compact locking microphone connector which builds on the strengths of the company’s established MicroDot connector. Delivering a quick and secure connection, the MicroLock locking mechanism provides an
extra layer of protection against accidental disconnection during use. Its redesigned construction has a more robust, solid metal body, while the improved electrical design offers enhanced stability and reliability of the signal.
Compatible with a variety of wireless systems, DPA says the MicroLock makes it easier to switch to a new wireless system without having to replace microphones. The company hopes this versatility will be especially beneficial for AV rental companies as it allows them to rent out the same microphone fleet across a variety of wireless systems.
DPA will introduce the MicroLock connector with its omnidirectional miniature microphones and passive adapters, followed by the cardioid variants. It is fully backwards compatible with existing MicroDot products.
www.dpamicrophones.com
float onboard recording for the recovery of clipped or quiet audio files.
For flexibility, it is universally compatible with cameras, smartphones and computers, and, it terms of security, it includes locking lavalier connectors for peace of mind.
The third-generation unit also leverages headphone monitoring with onboard level control and automatic plugin power detect for
The next in line for Shure
THE NEXADYNE line has been expanded with the Nexadyne 2 kick drum, Nexadyne 5 guitar amp and Nexadyne 6 tom/snare microphones. Each Nexadyne microphone incorporates Revonic dual engine transducer technology, whereby two calibrated transducers work together to achieve optimal performance. The compact industrial design includes a black finish for low-profile visibility. Delivering low-end clarity and fullness on every stage, the Nexadyne 2 has been designed with its swivel joint separated from the XLR output source
for secure placement. The small dynamic cartridge design of the Nexadyne 5 captures the full range of a guitar tone and can be positioned by hanging off any amp or used with a standard mic clip and stand. Featuring a fixed angle design and a smaller drum mount to reduce potential placement drift
from sympathetic vibration, the Nexadyne 6 provides a clear high-frequency response, with a flat midrange and full low
Specifically engineered for performers moving around onstage, Shure has developed the SM39 vocal performance headset microphone for integrating with the US brand’s wireless systems, including Axient Digital. The lightweight, low-profile design
extended battery life. It can be set up on a smartphone or computer via RØDE Central and it is compatible with all RØDE Series IV devices, including RØDEcaster Pro II and Duo, RØDECaster Video, Wireless PRO and Interview PRO. RØDE is also releasing a dedicated charging and travel case accessory – the Charge Case+. This is a compact case for the Wireless GO (Gen 3), designed to keep the entire system safe and secure when storing or taking it out on the road.
www.rode.com
provides a comfortable, secure fit that allows performing lead vocalists or instrumentalists to focus on their stage presence. The SM39 features a cardioid polar pattern to promote sound isolation in both indoor and outdoor environments. The contoured, secure fit of the headset features an adjustable boom that is designed to stay in place during energetic performances and features a hydrophobic coating to make it sweatresistant.
www.shure.com
Nexadyne 2
Wireless GO (Gen 3)
Hollyland sings a merry tune
HOLLYLAND HAS unveiled the 6th generation of its Lark Series.
The LARK M2S ultra-mini wireless microphone can be easily concealed into any outfit and comes with a 30-hour battery life and a 300m wireless transmission range, as well as Environmental Noise Cancellation (ENC) features. It has been designed for video content creators and livestreamers.
The built-in microphone measures 1.3cm x 0.63cm and weighs 7g.
clip, which holds it securely in place. Whether users are energetic or static, the mic has been designed to stay firmly in place. The titanium alloy construction reportedly provides strength and durability while remaining lightweight and corrosionresistant.
The LARK M2S boasts a sample rate of up to 24-bit/48kHz, a 70dB signal-to-noise ratio (SNR) and 2.4GHz transmission, capturing clear, articulate and natural human voices. The mic’s ENC minimises background noise, ensuring voices stay prominent. The new dial design in the Combo version makes it easy to access power, pairing, mute and volume controls, with options for high, medium and low levels. The LARK M2S is available in three versions: Combo (Duo), Mini Combo (Duo) and USB-C (Duo).
With the LarkSound App, users can check audio settings, volume levels, noise reduction and battery
MARKING A shift from the traditional “paddle” antennas, RF Venue has introduced its IP-rated circularly polarised (CP) antenna for wireless IEM and microphone systems. Building on the success of the manufacturer’s CP Beam helical and CP Architectural installation antennas, the CP Stage has been designed for wireless IEMs and, as a diversity pair, captures wireless microphone signals in varying environments.
Engineered for durability in a low-profile enclosure, the solution efficiently mounts to microphone stands, making it ideal for touring bands and fly packs. Its IP-rated weather resistance also suits fixed outdoor installations when wallmounted.
Unlike the single-plane orientation of “paddle” or “fin” antennas, CP antennas transmit and receive signals in a 360° or “corkscrew”-like pattern, eliminating issues with the orientation of wireless IEM bodypack receiving antennas and handheld microphone transmitters, regardless of how a performer moves and changes position onstage. Featuring
a 470–928MHz operating range, the CP Stage keeps performing across global frequencies in a compact 25cm x 30cm x 2.5cm footprint with a matte black finish.
The CP Stage antenna is individually available as well as bundled with relevant cabling and combiner hardware in multichannel upgrade packs.
www.rfvenue.com
KLANG:quelle XDM bridges analogue and digital
KLANG HAS unveiled the KLANG:quelle XDM, a 1U XLR breakout box that delivers 32-bit digital-to-analogue audio conversions from Dante or MADI inputs. Designed to expand and
supports Power over Ethernet (PoE) for streamlined setup. A high-resolution display and rotary control knob are said to make it easy to configure settings like audio routing and XLR output type
of output with user-configurable options for analogue XLR or digital AES3 formats in a compact, rackmountable unit. It can be used as an addition to a KLANG immersive processor or as a standalone tool in any pro audio environment.
The unit features two Neutrik etherCON halo network ports for Dante connectivity, with built-in LED rings indicating network ac tivity. The first port also
allow for dynamic routing. Stereo pairs can be configured to deliver either two mono analogue line level signals or a stereo digital AES3 signal through the same XLR connector. A blue halo light on the first XLR output of each pair provides an instant visual indicator of the selected output type. www.klang.com
Theory Professional unveils DLC Wall Mount Controllers
THEORY PROFESSIONAL has launched a controller that provides PoE control of a single Theory DLC amplifier zone directly from the wall. Available in black or white and compatible with Theory DLC-250.4d, DLC-1500.4d and DLC-250.8 loudspeaker controllers, the DLC Wall Mount Controller (DLC-CTRL) is described as simple to install, set up, configure and customise, and suitable for a variety of installations, including houses of worship.
According to the manufacturer, the DLC-CTRL pairs easily to a network and allows for real-time device syncing. Users can connect up to eight DLC-CTRL units to a single DLC loudspeaker controller and can allocate each DLC-CTRL to any single zone. Once connected to a DLC zone, users can change the source or manage the volume directly, as well as choose from preset minimum and maximum volume levels.
In the dock
BOASTING THE ability to drive 11 devices via a single USB-C cable, Aten International’s UH3240 11-in-1 USB-C multiport dock with power p assthrough is designed to enhance connectivity and boost productivity for hybrid workstations. Aiming to upgrade any setup, the UH3240 offers 11 essential ports, including two HDMI, two USB-C 3.2, three USB Type-A, one SD, one Micro SD, one Ethernet and one audio jack. It supports resolutions of up to 8K on a single monitor or TV, and 4K on dual screens, making it suitable for content creators who might also benefit from its SD card slot, highspeed USB transfers and HDMI output for multitasking.
Its lightweight, compact dock has a 40cm USB-C cable, which Aten says is the longest in its class, and
Apple M1/M2/M3 chips and features a plug-and-play design compatible with operating systems including Windows, macOS, iOS, iPadOS and Android.
www.aten.com
SQ-Rack goes compact
DELIVERING ALLEN & HEATH’s 96kHz SQ core in a compact, rackmountable design, the SQ-Rack has been crafted to meet the mands of live sound, AV and installation environments. It has been manufactured to bring power, flexibility and control into one
The SQ-Rack is built on Allen & Heath’s 96kHz XCVI FPGA engine, delivering high-resolution audio quality, low latency of less than 0.7ms and variable bit depths for optimised dynamic range. XCVI allows SQ to handle 48 input channels at 96kHz, with more mix headroom thanks to a 96-bit accumulator and the power to embed the manufacturer’s DEEP plugins into all 48 input channels
It features 16 onboard mic preamps and three stereo line inputs, while the integrated SLink port simplifies the addition of more inputs and outputs. Up to 48 mic inputs can be added via Allen & Heath’s Everything I/O ecosystem. Users can also slot in one of A&H’s 64x64 audio networking cards for integration into Dante and Waves networks, digital FOH/monitor splits with SQ or for MADI connectivity with third-party equipment. With efficiency in mind, the SQ-Rack boasts a dedicated fader screen, customisable SQ-Control display and hands-on controls. The SQ-MixPad, SQ-4You and SQ-Control apps offer additional flexibility, allowing operators to take command from various locations.
For added security, the DLC-CTRL features PIN code protection with both basic and advanced access, including a system shutdown
in standard white RAL9003 and black RAL9005. The menu is said to be very intuitive, and users can adjust the UI screen brightness as well as choose from dark or light mode to suit the installation environment.
www.theoryprofessional.com
Third-gen R Series racks unveiled by Yamaha
COMPATIBLE WITH Rivage PM and DM7 Series digital mixing systems, as well as the manufacturer’s CL and QL Series consoles, the third generation of Yamaha’s R Series I/O racks have been unveiled.
The first-generation Rio3224-D and Rio1608-D debuted with the launch of Yamaha’s CL Series digital mixing consoles back in 2012. The thirdgeneration models deliver advances in sound quality, functionality and energy economy, while maintaining
the performance that the R Series has become known.
Built around the core concept of an input section that captures stage sound with maximum precision, while the mixing engineer at the console adds colour, the R Series I/O racks are said to deliver lower noise levels and a wider dynamic range.
A new addition is a headphone socket, which can be used for checking the input and output sound, as well as the audio assigned to
the rear panel enables control and monitoring to be handled separately from Dante, a benefit for fixed installations. In addition, each output port is now equipped with delay, phase and level adjustment functions.
As with the previous generation, a front panel screen maximises control flexibility, while dual power
DiGiCo debuts the Quantum225T
DIGICO HAS released a “T” software version of its most compact Quantum Range desk, the Quantum225T. Bringing refined hardware and Quantum processing, the Quantum225T’s functionality and worksurface have been reconfigured to provide the specialist theatre programming tools needed for live sound design. The manufacturer believes that Quantum225T users will appreciate the console’s “intuitive programming and workflow” that enhance the cue system with DiGiCo’s Auto Update and cue data management tools. Auto Update allows designers to establish intricate inter-cue relationships, with changes made to channel settings automatically propagating to other related cues. Character variations, often a result
of costume and prop changes, are handled with the Alias function, and cast changes are easily managed through the Players function.
The Quantum225T’s channel processing and mixing functions are identical to its live-focused Quantum225 counterpart, but the
crosspoint matrix gains individual nodal delays and matrix aliases. This enhanced matrixing system is said to play an important role within complex theatre output processing but without compromising any of the Quantum225T’s general processing capabilities.
RHAON II steers forward with OmniBeam
THE 2.5.0 update for Renkus-Heinz’s RHAON II system manager now includes the OmniBeam beam-shaping algorithm. Designed for simplicity, through a click of the “Snap to Audience” button, OmniBeam instantly generates custom-tailored audio coverage for any venue.
A comprehensive software suite for controlling and monitoring all Renkus-Heinz loudspeaker systems, the RHAON II system manager has been designed to be easy to program and use, and is fully compatible with both Gen5 and legacy Renkus-Heinz products.
The latest version of RHAON II has been completely redesigned from the ground up, using highly structured modular code for greater stability and expandability. The result is a
new RHAON technology that aims to be faster and more reliable, with a streamlined, intuitive workflow. The system manager’s new networkagnostic interface has been structured to enable simplified implementation of new and emerging protocols, including Dante and AES67. The solution offers support for multiple NICs and wireless operation, enabling RHAON II to integrate into existing network infrastructure.
BeamWare III, the latest iteration in the manufacturer’s beam-steering calculation and simulation program, has been incorporated directly into RHAON II. BeamWare gathers basic room and mounting information from the user and uses new, enhanced algorithms to automatically calculate the optimal beam design, acoustic
supplies for redundancy give peace of mind. Importantly, power consumption of the Rio3224-D3 and Rio1608-D3 is 16% lower than earlier units, delivering a more cost-efficient and environmentally friendly solution.
www.yamaha.com/2/proaudio
The console sports a lightweight-yetrobust control surface in addition to comprehensive “in the box” mixing, reducing the need for outboard equipment. It comes with familiar features, including Mustard Processing channel strips, Spice Rack plugin-style native FPGA processing options, Nodal Processing and True Solo.
The Quantum225T is equipped with 96 input channels and 48 busses, as well Mustard and Nodal Processor tallies to 36 and 48, respectively. Mix minus is also included in the new feature set, plus a larger 24x24 matrix. There are four MADI ports and dual DMI ports for added connectivity, 8x8 analogue and four AES channels for local I/O, built-in UB MADI and optional Optocore, plus dual PSU.
www.digico.biz
centres and level profiling. For designers who want to create a custom frequency response target curve, RHAON II will automatically optimise and equalise the beams.
In brief, the manufacturer is now offering EN 54-24 certificates for
all UBX Series passive column loudspeakers. This certification ensures that UBX loudspeakers can be used as part of a voice alarm system within an emergency communication system.
www.renkus-heinz.com
HOME for the holidays
AVAILABLE FOR all compatible mc² audio systems, Lawo’s 12.0.0 software update introduces a range of features designed to not only improve user experience and system security, but also add native support for Lawo’s cloud-native HOME mc² DSP app. HOME mc² DSP is Lawo’s audio processing HOME app for mc² mixing console systems and is a CPU-based processor for production workflows based on Lawo’s unified HOME platform. It runs on generic CPU processors and provides familiar mc²style signal processing architecture; it has support for mono, stereo, 5.1 and immersive formats; and it handles up to 2,048 input processing channels. It also boasts 256 aux busses, 96 groups, 96 sums, support
for 32 automix groups, downmixing functionality and a co-mixer feature for monitoring and collaboration.
Version 12.0.0 also adds 128 processing channels to Lawo’s standalone mc²36 MkII console with onboard A__UHD Core technology, for a total of 384 channels with up to 256 busses. This expansion is free of charge and requires no additional licence. In addition, the upgrade delivers improvements regarding channel assignments and management, Waves integration, a more intuitive user experience and increased security features in accordance with EBU R143 cybersecurity guidelines.
A new Strip Assign page streamlines channel management by enabling
users to assign single or multiple channels in one step, and quickly reassign, duplicate or swap channels between strips. Meanwhile, integration between mc² consoles and Waves systems through the new ProLink protocol also makes the grade, replacing the older RFC protocol and enhancing communication
between mc² consoles and Waves SuperRack 14 systems. Label synchronisation is now automatic, while access channel linking allows engineers to open a connected Waves Rack with a single button press on the console.
www.lawo.com
Audinate adds to Dante catalogue LD Systems heads on a quest
DANTE STUDIO v2.6 software and Dante AV-H v1.5 technology have been released by Audinate. Both updates, now available for download, support multichannel video with up to four video Rx channels, delivering enhanced control and functionality to meet the growing demand for versatile AV solutions.
The Dante AV-H v1.5 release with four video Rx channels enables Dante AV-H to be built into new product categories like multichannel decoders, video switchers, vision mixers and multiviewers. This functionality enables seamless real-time video transitions. The firmware update is available to all Dante AV-H devices. Automated
Dante Studio v2.6 brings Dante video directly to PCs, eliminating the need for extra hardware like capture cards. This release allows operators, video producers and AV managers to receive and manage up to four Dante AV-H video streams, making it easier to capture multiple angles in events. Users can adjust video resolution between 720p, 1080p and 4K, tailoring video quality to meet specific project or customer needs, whether streaming in HD or delivering 4K content.
camera switching can be achieved by using positional data from Danteenabled ceiling microphones, ensuring precise alignment with the active participant. Operators can switch smoothly between multiple video sources in real time, with support for multichannel viewers that allow simultaneous monitoring of all feeds for easy issue detection, switch timing and quality control.
www.audinate.com
Dante Studio v2.6
Strip Assign
PRODUCTS
Clearly Kroma
AVAILABLE IN 24- and 31-inch variants, AEQ has announced the availability of the Kroma LM9000 4K monitors. In addition to HDR technology colour reproduction that enhances image contrast and realism perception, the LM9000 4K series enables detailed analysis of any video and embedded audio signal. Advanced Waveform/ Vectorscope, VU meters and unique features including Peaking Colour, allow out-of-range signal levels and values to be detected. With an ability to display up to 10-bits for each of the red, green and blue primary colours, different colour gamuts can be displayed in HD-BT.709, 4K-DCI and BT.2020. With a high brightness of up to 1,000cd/m2, the LM9000 monitors accurately reproduce every HDR video standard including
HLG, ST2084 or PQ (Perceptual Quantizer) and S-Log curves. With the calibration specifically designed for 4K resolutions, it is possible to adjust each monitor individually and to user preferences. Setting different colour spaces standardised by various international organisations is also possible.
The input video signal can be analysed for both luminance and chrominance levels in YCbCr or RGB format. Pixel values above or below those recommended by ITU and SMPTE standards can also be detected at full frame level or individually for each of the lines that make up the image. The VU meters allow a correct detection
all channels of the video signal. The rear panel incorporates four SDI input and outputs for pairing with signal presence LEDs. Dual 12G-SDI switchable inputs are also included together with four 3G-SDI inputs for 4K Quad-Link inputs, a corresponding Quad-Link follower
Barix updates its AudioPoint platform
MORE THAN a decade after its first version was released, Barix has refreshed its AudioPoint audio-to-mobile streaming platform for the HOW market.
AudioPoint’s Wi-Fi-based architecture is said to offer a simpler foundation than a hearing loop infrastructure. The update introduces a more bandwidth-efficient architecture that sends a private connection to each parishioner. Its real-time streams of the spoken word are said to reach the user “with pristine quality”, leveraging built-in most worship environments.
Claypaky adds to Arolla Aqua series
ITALIAN LIGHTING manufacturer
Claypaky has unveiled two additions to its Arolla Aqua series: the Arolla Aqua LT and Arolla Aqua Wash HC. Combining brightness, precision and advanced control in a weatherresistant IP66 design, the Arolla Aqua LT is equipped with a custom 900W white LED light source and delivers over 40,000 lumens. Its centre-weighted peaked beam is optimised for a more consistent illumination and quality of light. Additional features include a 4–52° zoom range, a narrow beam and a 170mm front lens. It also comes with the manufacturer’s Sun Safe Protection System which lets
operators activate a safe mode, where the fixture automatically positions its head away from direct sunlight, preventing the lens from becoming a sunlight magnet.
Claypaky’s Four-Focal Plane Shutter System and an advanced colour mixing system are included, while the Arolla Aqua LT FS – an external digital camera version – is also available.
The Arolla Aqua Wash HC is an IP66 LED single-lens wash light designed for both indoor and outdoor use. At its core is a 960W custom white LED engine (7,000K), featuring a high CRI of up to 95. The fixture integrates TrueCurve, an RGB LED system that allows the calibration of whites by
AudioPoint’s encoding hardware provides two distinct mono channels for unicast streaming audio to mobile phones, supporting up to 250 direct simultaneous streams. The compact AudioPoint encoder requires one wired connection to a mixer or computer and one wireless connection to the Wi-Fi network. Using the free Barix AudioPoint app on iOS or Android
Input (DCI) connector supporting resolutions up to 2160p60. An RS-232C serial port, USB connector, R J45 connector for GPI and a pair of RS-422 input and follower connectors come as standard.
www.aeqbroadcast.com
devices to stream live audio to mobile phones, audiences can scan the QR code inside the facility to connect to and select from available channels.
For worship events involving video, AudioPoint’s low-latency technology streams audio to the consumer’s personal device in real time, ensuring synchronisation with the visual presentation. Parishioners can select between audio channels in the app if other languages are available.
www.barix.com
controlling green and magenta shifts. This reportedly ensures consistent, crisp and clean whites across the rig. The versatile optical system offers an adjustable beam angle from 6–47°. For a wider light distribution, users can add the replaceable frost filter to achieve a smooth 60° beam. Its 170mm lens provides even light distribution, while the Internal Barndoor System on two focal planes provides precise beam shaping and
Finally, the Mini-B Aqua combines flexibility, a lightweight design and fast pan/tilt movements. Created to meet the demand for a mini-washlight that’s compact and agile, the Mini-B Aqua PX inherits the core strengths of its predecessors, adding the pixel-topixel control of each LED.
www.claypaky.it/en
Arolla Aqua LT
Cameo introduces a raft of new fixtures
CAMEO HAS unveiled the P6, describing it as the most powerful LED profile light in the P series. The
The German manufacturer has also unveiled a new addition to its PIXBAR Generation 2 lineup with an SMD LED short version named PIXBAR SMD Short IP G2. Like the other PIXBAR G2 models, it’s equipped with an IP65 certification, well-thought-out accessories and is suitable for lighting any event, both indoors or out. Whether hanging or standing, the optional connection system allows for a variety of designs and placement options, creating novel lighting effects and set designs. Up to three units can be connected vertically with the optional Verti Mount and Stack Kit for a synchronised lighting effect. The Root Bar is a linear LED bar available in three versions, with a compact design making it ideal for creative lighting in a variety of locations. The intelligent design allows for flexible positioning at
shield add visual accents. In addition to DMX protocol control, the Root Bar can be remotely controlled via the optional IR remote. For wireless DMX connection via W-DMX, the unit features a USB port for connecting
flow rate of 77m³ per minute, can be used to create gentle breeze effects to powerful gusts of wind. The machine is suitable for houses of worship and other live events.
www.cameolight.com
PIXBAR SMD Short IP G2
PRODUCTS
GLP goes wild
THE WILD Bar 16 from GLP is an LED tilt bar featuring 16 40W RGBL LEDs and IP65 protection. Developed for use in outdoor or dirt-intensive events, the device is said to deliver sufficient power for show lighting in any application, with a light output of 6,000 lumens, a motorised 190° tilt and a zoom range of 3.9–51°. The compact design weighs 22.6kg. The unit’s IP65 certification means
it can withstand rain, dust and dirt, making it suitable for festivals, open-air events and other demanding environments. For maximum flexibility, the Wild Bar 16 supports DMX, RDM, Art-Net, sACN and the GLP iQ.Mesh system, offering multi-patch functionality for precise media server pixel control.
www.glp.de
Martin adds to MAC Aura range
COMBINING WASH, beam, eye-candy and weatherproof functionality, Martin has released the MAC Aura Raven XIP, described as the biggest, brightest and boldest fixture of the MAC Aura family. Suitable for both indoor and outdoor applications, the fixture delivers over 24,000 lumens of output and a high-intensity beam through its 343mm front lens. An array of 234 individual LEDs,
applications. A belt-driven zoom system provides fast and near-silent operation. Other features include a Universal Connect Module slot, Companion Mobile app control and yoke handles for easier transport and handling. Martin’s P3 control also simplifies setup, configuration, and the mapping and mixing of DMX with video.
Reportedly bringing 50% more brightness than the Martin MAC
The spirit of light
ROBE HAS added the iSTROBE and iESPRITE LTL WashBeam to its growing catalogue. The iSTROBE comes with three rapid motorised zooms, including a unique linear zoom for the central white LED strobe and continuous pan and tilt rotational control. Features include an Extreme output, zoom control that provides bright washes and a high-intensity blinder. The pan/tilt and zonal control can be used for apping dynamics and the included macros are said to result in faster programming. Variable flash durations provide control of every beat, while the unit also benefits from Robe’s Rains, Polar+ and parCOAT IP65 active protection technologies. Based on the iFORTE LTX WB, the smaller and lighter iESPRITE LTL WB is said to bring the durability of the iSERIES to indoor or outdoor applications. It comes with a 200mm front lens and a range of features that reportedly deliver high-performance, medium- to long-throw output from its 37kg frame. Features include the manufacturer’s iSE-TE 750W XP
Ayrton unveils Mamba
FOLLOWING IN the footsteps of Cobra, Ayrton has unveiled Mamba. Described as a versatile lighting concept equipped with a laser source twice as powerful as Cobra, Mamba can deliver a multitude of new psychedelic effects said by the company to be “nothing short of spectacular”.
The first laser-sourced IP65 fixture in Ayrton’s 6 Series, Mamba features 18 motors dedicated solely to effects creation, as well as a selection of 92 fixed and rotating metal gobos across two wheels, specifically designed to sculpt light in “beam” mode. An endlessly rotating ovoid animation wheel adds to its arsenal.
The gobos can be paired with an initial level of two palettes, each containing four individually rotating, indexable prisms that can be combined. These can then be linked to a second level of four combinable prisms situated at the front of the fixture, enabling the creation of complex volumetric effects. Completing its graphics toolkit are two frost filters. The fixture introduces a new colour section, including a high-definition gradient CMY mixing system and an instant-access, multi-position wheel equipped with 15 complementary colour filters, two multicolour filters, two CTP correctors, a progressive CTO and three multicolour
(Xtra Power) and HCF (High Colour Fidelity) white LED engines, a CMY colour mixing system and a variable zoom range. Also benefitting from the Rains, Polar+ and parCOAT IP65 active protection technologies, the iESPRITE LTL WB is broadcast-friendly and also includes Robe’s Plano4 FC full curtain shutters, MAPS static calibration and airLOC cooling for ultra-quiet operation and cleaner optics.
www.robe.cz
animation sections – RGB, CMY and RGB+CMY – spread over two concentric circles. Fitted with a 250mm front lens, Mamba’s proprietary 13-lens optical system offers a 21x zoom range and an operating span from 0.7–15°. With continuous pan and tilt rotation, this fixture becomes a universal tool. The IP65-rated Mamba operates both outdoors and indoors – even in saline environments – while maintaining full accessibility. Weighing 41kg, it is equipped with a sun protection system and an integrated heating system that withstands temperatures as low as –20°C. www.ayrton.eu
iSTROBE
Compact transmission
ADVATEK HAS announced the launch of its PixLite R1F-S receiver and PixLite T16X-S transmitter. The receiver, with its smaller form factor, has been specifically
designed for installations in tight spaces. Supporting up to 1,020 RGB pixels per data run, the R1F-S offers advanced mounting options, seamless integration and reliable signal performance, even in the most challenging environments. The transmitter is engineered for long-range performance, offering 16 outputs that each support up to 1,020 RGB pixels. Designed to reduce control costs, the T16-S enables data transmission distances of up to 300m, making it suitable for large-scale projects. Both have been designed with advanced mounting options.
www.advateklighting.com
Elation’s Rebel does it all
THE HIGHLIGHT OF SEVERAL recent introductions from Elation Lighting, the Rebel is a compact LED profile fixture designed for demanding indoor and outdoor applications. It houses a high-output 500W LED engine offering 22,000 lumens of output, dynamic colour mixing with high CRI, an onboard FX package and IP65 protection. The manufacturer says that the fixture adapts seamlessly, from large events to intimate venues, and is built for rental houses and designers who need fixtures that can do it all without a premium price.
The KL CORE IP LED engine is described as offering “nearly endless functionality” in an adaptable design. It houses a highoutput 400W full-spectrum LED that is capable of delivering over 15,000 lumens of output. For ellipsoidal applications, the fixture can be
frequency. The integrated touch bar encoder allows the device to be controlled in standalone applications, while the Aria x2 wireless device management integration also offers additional control options.
Finally, the KL PAR IP Compact is an IP65-rated LED fixture in a small package and designed for any environment. The fixture offers precise colour temperature control, full spectrum rendering and consistent wash coverage, powered by an efficient RGBMA engine that provides up to 5,474 lumens. Its ColourTune Technology delivers colour accuracy (CRI 94.9, TLCI 95),
paired with an optional KL CORE IP shutter barrel and used with any of the IP67-sealed lens tubes, functioning as a traditional LED ellipsoidal. The design is also compatible with most third-party shutter barrel assemblies, allowing integration with existing setups. Further expanding its flexibility, the optional KL CORE IP Fresnel lens turns it into a zoomable Fresnel, while the optional KL CORE IP Bowens mount allows it to function as a monolight or lamp head for use with softboxes, lanterns, open-face reflectors or other beam modifiers, making it suitable for broadcast applications.
With ColourTune Technology software, the fixture offers a high CRI of 94.9 and TLCI of 95, fully variable 16-bit CCT control and remotely adjustable LED refresh
16-bit variable CCT control and adjustable LED refresh frequency, making it suitable for a variety of live events.
www.elation.global
Twice as nice with ZerOS 8.0
THE FREE ZerOS 8.0 software update from lighting control specialist
Vari-Lite doubles the capacity of VariLite’s FLX S Series consoles, both removing the need for paid universe upgrades as well as increasing the integration between FLX S consoles and the company’s RigSwitch+ power platform. The update enables the FLX S24 and FLX S48 to support 96 and 192 fixtures respectively, across 2,048 DMX channels (equivalent to four full DMX universes). It also doubles the number of playbacks, groups and palettes available on all FLX S consoles. The FLX Console and ZerOS Server have also received an upgrade to 4,096 channels (equivalent to eight full DMX universes).
to every fixture on their console without further eating into their fixture count. These relays can be manually controlled, or users can allow ZerOS to automatically control the relays, switching each individual circuit on
when the fixture plugged into it is needed and switching it off when they’re not.
Vari-Lite has also released ZerOS 7.14.4 specifically for legacy ZerOS consoles, improving both performance and
Bringing the features of professional lighting control in a free-to-use software, Vari-Lite has launched the Neo 4.2 software update which can be downloaded on a Windows PC. It is licensed for four universes (2,048 channels) for 24 hours at a time with
access to all features. At any point, users can restart Neo PC and the 24-hour counter will restart.
Neo 4.2 is aimed at various users. It enables rental companies to run the software at their workbench for simplified testing of stock, while professional programmers can use it to pre-visualise a show or create a multiuser environment. In live environments, operators can leverage it as an automatic tracking backup system alongside a Neo X console. The update brings additional enhancements such as a redesigned Cue List window and Side Bar engineered to be cleaner, consistent and more useful. A Messaging & Tasks window allows operators to communicate and share To-Do lists across their lighting network.
www.vari-lite.com
Rebel
KL CORE IP
KL PAR IP Compact
FLX S24
Going live
Alex Pettitt uploads videos to his YouTube channel that provide houses of worship with advice on how to maximise their livestreaming
WITH A BACKGROUND IN broadcast stretching back to his time at university, Pettitt specialises in providing advice and consultation services to houses of worship that want to either begin or expand on their livestreaming content. “Ironically I studied nothing to do with media at university,” shares Pettitt. “The university had a radio station but it didn’t have any visual aspects to it, such as a student television station, so we put together some simple camera and live broadcasting equipment and started covering some of the university’s events, and it was really successful in the first year.”
As a result, Pettitt was headhunted by a social media/ production agency to work on establishing a livestream entertainment show on YouTube, speccing and supplying all the technology needed for the weekly programme. Skipping ahead a few years, Pettitt made the decision to set up his own business. “I joined a livestreaming app called Periscope which was owned by Twitter and started creating content with tips and tricks on how to maximise livestreaming. When I founded Alex.Live, I started getting more requests for studio builds and endto-end productions.”
relying on for the last 10 years that I will always recommend,” Pettitt continues. “Blackmagic Design is one of the first brands I discovered and I’ve been using their equipment since the days of establishing the TV station at university. So much has changed since then – when I first started out, there weren’t many companies developing the tech at
what they’d like to achieve and what struggles they’re experiencing.”
Around two-thirds of projects will end after one or two consultations, but the other third will result in the church requesting that Pettitt spec some new equipment. “At that point, I’ll visit the church if I can and provide a list of recommended equipment which they can choose
looking to upscale their productions. There’s more tech coming on the market, and this competition drives down the cost and has massively benefitted the end user, with more features at a lower price. I’ve had some interesting conversations with churches in the US about upscaling because often they’ll have a slightly higher budget than perhaps
While studio builds still form a part of Pettitt’s work, viewers of his YouTube channel soon realised that his expertise could be beneficial to the house of worship market. “I’ve seen a lot more house of worship clients get in touch and ask for advice and one-to-one consultations in the last three or four years,” he adds. “I help all kinds of churches with their livestreaming – from HOWs that are just getting started through to others who have been streaming for a while and want to increase their production values.
“While I tailor each project depending on the church’s size and needs, there’s a kit list I’ve been
are fewer barriers to get up and running. Nowadays, the Blackmagic equipment ranges from a couple of hundred dollars right up to several thousand.”
At the start of the pandemic, Pettitt’s involvement in the HOW sector accelerated. “I was uploading more videos at that point to try and help people with how to set up livestreaming as an alternative to in-person services, and then the emails started flooding in. I start my consultations on Zoom, looking at their existing setup – if there is one – and try and work out what their targets are,
everything in, test the equipment and train people on how to use it. However, it’s really important that we have those initial conversations as early as possible before the church has bought any equipment or changed its infrastructure so I can suggest alternatives that may be less costly and more practical.”
Pettitt notes that as we transition back into physical spaces postpandemic, he’s receiving more enquiries from churches looking to capitalise on their initial tech investments. “When churches realised that their Zoom services had been a success, they’re now
Pettitt uses a team of freelancers including lighting experts, set directors and producers to help him out. “I’ve worked with some fantastic people over the years so I’ve got a great network of people to call on, both here and in the US,” he adds. “There’s a global network of people who are experts in livestreaming and studio building and I’ve had some great discussions with them and we share projects with each other. It’s an amazing community and one I’m lucky to be part of.”
www.youtube.com/@AlexPettitt
Alex Pettitt
Pettitt discussing Blackmagic’s ATEM Micro Panel on his YouTube channel
INTEGRATION READY. ROAD TESTED. IS-SERIES
Permanent installations present their own set of expectations and need a purpose-built product for those demands. The IS-Series brings the rider acceptance and performance of Adamson's touring products to the world of integration.
