Worship AVL November - December 2018

A/V LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST November–December 2018

THE POPE IN DUBLIN Scaling up for the supreme pontiff at Croke Park

A/V NETWORKING Audio and video networks combine

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BIGGER IN TEXAS Overcoming challenges in a new sanctuary

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CONTENTS

Issue 55

November–December 2018

NEWS PLANET-SHAKING SOUND Planetshakers play Indonesia

4

A MESSAGE IN HOPE Hope Church installs Clear-Com solution

6

SILENT MONITORING 3D in-ear monitors for Liberty Church

6

CONTROLLING SOUND, PRESERVING INTEGRITY New sound setup at St John’s

8

LORD’S CHURCH LEVELS UP LA church goes dLive for FOH, monitors and streaming 9 INTELLIGIBILITY IS KEY Verity Audio arrives at Korean church

9

LIGTHING THE RESURRECTION Chauvet lights in Downtown Kansas

10

VERA PROVIDES CLARITY Beirut’s Saint Therese adopts TW Audio

10

FAN-SHAPED COVERAGE Bose speakers cover Cross Church

12

RIS CHURCH REINFORCED Steering sound in Norway

12

DOWN TO THE CROSSROADS Mississippi church reaches an audio crossroads 14 ANJUMAN EL-SAIFEE COMMUNITY CENTRE Powersoft amps drive new mosque 15 COMMUNICATING WITH SIGHT & SOUND Bible theatre adopts new solutions

16

SOMETHING DIFFERENT FOR X WKND LifeWay event held in the round

18

SPECIAL REPORT A look at how Samaritan’s Purse distributes video

20

PROJECTS COVER: DUBLIN WELCOMES THE POPE Exploring the sound setup at Croke Park

22

RIVERLIFE UPGRADES Worship AVL returns to the Singapore church

26

UNITING THOUSANDS Wigwam Acoustics manages A/V at New Wine’s United 18 28 ALL CREATURES GREAT AND SMALL Emmanuel Church of God returns to its roots 30 BIGGER IN TEXAS The A/V inside Life Challenge Church’s new auditorium

LEADER We were truly spoiled for choice when it came to picking a photo to adorn the front cover of this issue. The early frontrunner was a shot of Life Challenge Church’s new sanctuary in Odessa, Texas which, thanks to their clever use of environmental projection, was draped in the American flag. You can read all about that and see the image in question on p32.

Then, our editorial coordinator Karen travelled to England’s West Country to provide coverage of New Wine’s United 18 festival on p28. It’s not often we have a worship festival to highlight and the pictures were under consideration for our cover shot.

However, when the chance to feature the audio setup at Dublin’s Croke Park during Pope Francis’s visit presented itself, it became difficult to consider running anything else. It’s not every issue we get to highlight something of this magnitude after all.

Approximately 82,500 Catholics attended the Festival of Families event and a rather large sound system was needed to ensure that the masses could hear every word spoken by the Bishop of Rome. What is interesting to note is that the loudspeaker setup employed could be put to use by any house of worship. This is because the Nexo STM series system used is scalable, meaning that while the speakers, amp racks and flyware were scaled up to fill Croke Park with sound, they can also be scaled down to suit a smaller venue.

You can read all about it on p22.

32

KNOWHOW PORTABLE LIGHTING FOR VIDEO John Black runs through the options

36

CHOOSING A WOOFER Gordon Moore reveals how to handle bass

40

VIDEO ON THE GO Taking your video setup outside

42

MAINTENANCE Frank Wells explains why polarity absolutely matters

44

James Cooke Editor

Telephone: +44 (0)1892 676280

Email: jcooke@worshipavl.com MEET THE TEAM

TECHNOLOGY FLYING SAFELY Lowering the risk for hanging lighting equipment

46

THE INVERSE SQUARE LAW Why it’s handy to brush up on high-school physics

50

THE FUTURE OF A/V NETWORKING A/V heavyweights explore new partnerships

52

BUYING GUIDE What to look for in portable loudspeakers

54

PRODUCTS Equipment launches and updates

56

THE TECH VIEW Church of the Resurrection heads downtown

70

IN THIS ISSUE 20

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NEWS

Planet-shaking sound in Indonesia INDONESIA: Planetshakers’ neverending world tour recently brought the praise band to Indonesia for a performance at the Supermal Surabaya Convention Center alongside Sound of Praise, the worship band of Surabaya’s Alfa Omega Church. They were reinforced by an Outline sound system with help from the manufacturer’s local distributor, Melodia.

Planetshakers is a worship band that has toured the globe performing lively concerts throughout Asia, Africa, the Americas, Europe, Australia and New Zealand since forming for the first Planetshakers Conference in 1997. A key factor in the success of the Planetshakers Church, which is based in Melbourne, Australia and runs campuses in Singapore, Cape Town, Geneva, Austin and Geelong, the Planetshakers band performed to 6,000 people at the sold-out venue.

Alfa Omega Church organised the concert, enlisting the services of Surabaya Media Group to handle the multimedia elements of the event.

The acoustics provided the main challenge, as the convention centre is typically used as an exhibition space instead of as a concert venue. The

Monitor world

The Melodia and Alpha Omega crew

Alpha Omega production team lined the walls in black curtains to both lower the reverberation time in the room, while creating the visual setting concertgoers might expect.

While the fabric-lined walls helped with the acoustics, care was also taken in the selection of a loudspeaker solution to reinforce the energetic live music. In addition, the Outline system employed was designed to ensure sufficient coverage throughout the relatively wide venue. OpenArray 3D simulation software was used to put together the system design.

The main PA comprised 18 GTO large-format line array loudspeakers divided into arrays of nine per side and accompanied by 16 DBS 18-2

4 WORSHIP AVL November–December 2018

subwoofers. To compensate for the 35m width of the stage, four Stadia 100 cabinets and eight Vegas 15CX low-frequency enclosures were flown to the left and right as in-fills, and front- and centre-fills respectively. Six of Outline’s X8 power amplifiers drove the setup, while the manufacturer’s Newton processor could be found alongside the Yamaha Rivage PM10 and CL5 mixing consoles at the FOH position.

Serving as monitors for the bands onstage were Outline Vegas 12 CX and 15 CX cabinets driven by a pair of M5000-4 power amplifiers. Band members also took advantage of an Aviom personal monitoring system with Sennheiser wireless in-ear monitors. A Yamaha CL3 joined a PM1D console to manage the monitoring mix.

‘The wireless systems used on this event totaled about 65 channels, which was a challenge in terms of frequencies,’ recalled Rudy Winarto, owner of Melodia. ‘We had to make

One of the Outline GTO arrays sure each unit was tested, one-byone, during the sound check and rehearsal.’

The event, which was also recorded, was considered a success by all involved. ‘At the end of the show, Planetshakers’ FOH engineer, Sam Lithgow, thanked us and said the Outline system we provided was incredible,’ concluded Mr Winarto.

‘They had originally requested another brand of loudspeaker and were pleasantly surprised with the results.’ www.alfaomegachurch.com www.outline.it www.planetshakers.com

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This means that camera operators are free to focus on creative framing and composition. The ATEM Camera Control Panel has been designed to be portable and simply placed on a desktop, or it can be bolted down for mounting in a slide out rack shelf. The controls are arranged in a familiar and logical layout, making it perfect for both experienced and new operators. Plus, it works with all ATEM switcher models!

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NEWS

A message of Hope now available in Mandarin SINGAPORE: Flexibility and versatility of use are common marketing phrases, but US manufacturer Clear-Com can rightly highlight these attributes having adapted its intercom technologies in applications beyond intercoms for live broadcast productions.

signals connect the Jalan Sultan location over an IP network.

Like most modern Singaporean houses of worship, Hope is more than just a 1,400-capacity sanctuary combining offices, cry rooms and a kindergarten within its property.

A 4-channel MS-704 main station

Around 6,000 congregants attend six Sunday worship services at Hope Church’s Axis Auditorium Having moved into the Textile Centre in 2012, Hope Church has welcomed many new congregants to the fifthlevel sanctuary. More recently, it expanded its worshipping practices to Seletar Country Club. Here at the North East regional centre, approximately 400 congregants enjoy the same English and Mandarin Sunday services as H.264 HDMI and SDI video together with Dante audio

was installed as part of the original installation, providing production feeds to back of house volunteers, in addition to transmitting the audio over the Cat-5 network to the other rooms.

Serving as end points, up to six LQ IV Core units can be linked within the network.

Lacking an English-Chinese translator at the Seletar Country Club, events operations technical director Steven

Hope Church’s media engineer, Phillip Cambel Resurreccion, and technical director Steven Yeoh with the MS-704 Yeoh was tasked to create an IP feed from the main church to its outreach.

‘We use the Clear-Com LQ-2W2 to link the intercom system between the main Axis Auditorium and the Seletar Country Club over IP,’ he explained.

Designed to connect 2-wire partyline audio devices over LAN, WAN or internet IP infrastructures, the LQ-2W2 can also connect to Eclipse HX frames via the IVC-32-HX interface card or SIP client connections over wireless networks. ‘We originally specified the LQ-2W2 as an audio channel for the stage manager, technical director and production crews at both venues, allowing them to communicate bidirectionally during the service.

However, we realised that we could creatively utilise the spare channel as a 1-way Mandarin translation service transmission.’

Channel 2 of the LQ-2W2 now outputs to a Clear-Com TW47 2-way radio interface, before transmitting the audio signal to the simultaneous interpretation system. ‘Having consulted Hans Chia [Clear-Com

sales manager, APAC], I was relieved that we could simply add a manual IP address into the PC to create this transmission.’

Having applied a further use for the LQ-2W2, Clear-Com could perhaps write a new sales brochure highlighting its enhanced use at Hope Church.

An add-on sale may not have been gained at this prestigious church, but this invaluable user feedback may just have unwittingly provided the manufacturer with a glimpse into a new market. www.clearcom.com www.hopesingapore.org.sg

An LQ-2W2 now provides Mandarin translation services to Hope’s north-east regional centre

Silent monitoring in Gulf Breeze

USA: Liberty Church in the Pensacola area of the Florida Panhandle has equipped its Gulf Breeze campus with a Klang:fabrik 3D in-ear monitoring system. Not only has it removed the responsibility of mixing monitors for the technical team, but

it has also reportedly resulted in an improvement to musical and vocal clarity. The Klang system was sold and installed by All Pro Integrated Systems. The systems integrator’s commissioning specialist, Kelly Ward, also serves as the audio and media

6 WORSHIP AVL November–December 2018

director at the Liberty Church Gulf Breeze campus.

Configured for 32 inputs by six stereo outputs, the Klang:fabrik system allows the musicians to hear themselves spatially in relation to the other musicians and singers on stage. ‘The vocalists love the way it helps them fit into the overall picture on stage, and we love it because of the level of control we can have over the monitor mixes,’ said Mr Ward.

Mr Ward is able to manage the system from a laptop at the rear of the sanctuary, where it is connected to an Allen & Heath GLD-80 console and reaches to the stage via Dante over a Cat-6 cable. Gulf Breeze worship leader Jamie Anderson, who also plays guitar and sings, can adjust the mixes from the stage using the Klang:app on an iPad.

‘We’ve found that managing the monitor mixes this way works best for us, because we can respond to the vocalists’ balance requests quickly and precisely through the apps, and let them concentrate on the music during rehearsals and during services,’ explained Mr Ward.

‘The overall outcome is excellent, because the singers and band members have exactly the mixes they need to hear while they can concentrate on the performance instead of the technology, and the control of the sound on the stage is complete, which makes for a better experience overall during services.’ www.allprosystems.com www.klang.com www.libertychurch.net/gulf-breeze

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NEWS

Controlling sound and preserving integrity at St John’s Cathedral AUSTRALIA: St John’s Cathedral in Brisbane reportedly has one of the longest reverb times for a chapel in the southern hemisphere at 7.2s.

While this is great for a Gregorian chant or a peal of bells, it’s not ideal for reinforcing music and speech with clarity. Therefore, the cathedral was recently equipped with an L-Acoustics distributed 5XT system to provide sound reinforcement intelligibility.

The solution was designed by Don Bowden, director of the church’s long-time systems integration partner DBAV Productions, to cater to budget and scheduling constraints, as well as to preserve the architectural integrity of the sanctuary.

‘The interior is long and has some very excitable frequencies that occur in the strangest of places,’ explained

Gerry Gavros, L-Acoustics’ product manager. ‘It is stone-vaulted and there is nothing anywhere to absorb or diffuse the sound other than people and some timber carving.

The new system also had to cater for the many different modes they run the cathedral in, with various congregation sizes and seating locations and orientations. There are side chapels, altar areas and choir stalls. All get used at different times for different applications.’

Dan Fittell from Brisbane Sound Group provided assistance to test the 5XT system’s suitability with a temporary installation inside the cathedral serving as a proof of concept.

‘It was proved that a distributed system running at lower controlled levels minimised the amount of energy that emanated into the cathedral’s domed roof structure,’ recalled Mr Gavros. ‘The result was exceptional. Congregation members said that this was the first time they had heard the full service clearly in over 10 years. It was enough for the committee to proceed with the purchase.’

L-Acoustics’ Soundvision 3D simulation software was used to verify the final system design. As only a month was allocated for installation, the system was precabled, allowing for the temporary demo system to be swapped out for the permanent one. This took just a week to do.

As for preserving architectural integrity inside the heritage-listed cathedral, which meant not fixing the loudspeakers directly to the church’s

sandstone columns, Mr Fittell fashioned a bracket from tensioned stainless-steel wire to mount the 5XTs. A total of 44 5XTs were RAL colour-matched to blend in with the walls. A further four enclosures were delivered in the standard black finish, along with five LA4X Amplified Controllers installed throughout the cathedral.

‘The sound is very clear, and members of our regular congregation have commented that they now can hear every word spoken at the services and in the sermons, making their experience at church much more enjoyable,’ proclaimed Reverend Dr Peter Catt, Dean of Brisbane. ‘The quality of sound for concerts and events held in the cathedral is also of a very high standard. We are very pleased with our new sound system.’ www.brisound.com.au www.dbavproductions.com.au www.l-acoustics.com www.stjohnscathedral.com.au

Yesu Karunalaya Church gains extra Thump INDIA: Yesu Karunalaya Church in Mysore City recently received a state government grant towards a renovation. This included electrical works and the installation of a new sound system in the form of Mackie Thump15A loudspeakers.

Decibel Acoustics assisted with the installation while Mackie’s Indian distributor, Sonotone, supplied the Thump15A cabinets.

‘Yesu Karunalaya Church was in the process of a complete overhaul and was seeking an efficient and aesthetically pleasing loudspeaker system that would deliver top-quality reinforcement for speech and music during their services,’ explained Mr

Joy from Decibel Acoustics. ‘After a brief look at the options available, they opted to go for the Mackie Thump15A powered loudspeakers owing to their

8 WORSHIP AVL November–December 2018

great quality and delivery, and also for the fact that it was one of the most price-efficient products in its range, delivering a feature set that no other

model in its class did. And, indeed, they were very impressed with the solution.’

The installation has seen a pair of the Thump15As flown from the ceiling in a left-right configuration. A further two units are mounted on the walls as outer left- and right-fills.

The new sound system made its debut as the church re-opened following the renovation works in time for its 118th anniversary celebrations.

Bishop Reverend Mohan Manoraj inaugurated the system by delivering a special sermon. www.mackie.com www.sonotone.in

NEWS

Lord’s Church levels up USA: Lord’s Church LA, located in Bellflower, California has invested in an Allen & Heath dLive digital mixing system for its FOH, in-ear monitors and streaming broadcast feeds. The solution comprises a C Class C2500 Surface and DM32 MixRack with a DX168 Expander, and was supplied and installed by systems integrator Gridworks as part of a wider audio upgrade.

‘This was a light-years tech jump for us,’ said Jason Phillips, lead pastor at Lord’s Church LA. ‘The capabilities of that board are just endless. It has completely changed our audio/video programming and taken us to a whole new level.’

The pastor also noted that the church’s online congregation now outnumbers those who attend services in person. Worshippers from as far as Europe and Asia even tune in via the Lord’s Church LA website as well as its Facebook and YouTube accounts. ‘We’re even

getting feedback from other pastors telling us that we’re putting out a great online product,’ he added.

‘They use dLive layers for the different mixes they need and dLive scenes for different songs and services,’ explained Christopher Johnson, VP of sales at Gridworks.

‘We gave them a pair of IP6 remote controllers on stage for the band to adjust its in-ear monitor mixes. And we added an IP8 remote controller for the broadcast mix. This setup allows one person at the C2500 to perform all three mixes if they’re short-handed.’ www.allen-heath.com www.gridworks.net www.lordschurchla.com

Intelligibility is key at Bupyeong Jackjeon Church KOREA: Verity Audio has supplied a new line array sound system for Bupyeong Jackjeon Church in Incheon. After consultation with the house of worship, the French manufacturer took into account the specific audio needs of the sanctuary, placing high importance on intelligibility, and equipped the church with its IWAC210 system.

The installation comprises four IWAC210 single 10-inch line array speakers and a pair of Sub115T 15-inch subwoofers stacked on each side of the stage.

‘Verity Audio has been involved with many church installations,’ said a Verity Audio spokesperson. ‘We know that a church needs true, natural and even sound, as well as a system with constant and precise dispersion angle control, high enough SPL and that is compact in size. Intelligibility is the key criteria to tell whether the sound in a church is good or not.

The combination of the IWAC210 and Sub115T15 is a perfect choice for that.’

Although the system setup appears simple in design, it has reportedly received several compliments from the church and its congregation. www.verityaudio.fr

1/2PAGE HORIZONTAL

Next Generation

September–October 2018 July–Augustwww.codaaudio.com 27 November–December 2018WORSHIP WORSHIPAVL AVL 39 9

NEWS

Lighting the Resurrection in Downtown Kansas USA: Church of the Resurrection’s new Downtown campus in Kansas is the first new church build in the city for more than 80 years. The stateof-the-art US$10.2 million facility is equipped with an LED stage lighting system, designed and installed by Stark Raving Solutions, and features a range of Chauvet Professional fixtures.

‘Ultimately the technology disappears and congregants are able to experience a transformational opportunity without really thinking about that technology,’ explained David Sisney of Stark Raving Solutions. ‘In terms of the lighting, this meant creating a complete and flexible theatrical lighting system

capable of handling any kind of event, from worship, to meetings, to complete concerts.’

Serving as stage washes are 22 Chauvet Colorado 1 Solo and eight Ovation E-910FC fixtures.

The Colorados are flown across three stage electrics and two side positions, delivering primary stage wash, while the Ovation E-910FCs are found on a pair of downstage electrics, used for front washing and spotlighting. Uplighting of the upstage drapery is handled by eight Colordash Par-Quad 7 units, while accent lighting is provided by four Rogue RH1 Hybrid and Rogue R2 Wash fixtures.

‘We have four Rogue Wash fixtures positioned over the stage and

four Rogue Hybrid fixtures on our first house electric,’ noted Kenny Decoursey, tech arts and facilities director of the church. ‘Both fixture groups give us the ability to create special lighting looks, texture and movement that enhance the worship experience and complement the various architectural elements of the room. Installing moving fixtures in the church not only brings a heightened level of production to our services, but they also provide nearly unlimited flexibility in how, what and where we direct light. In

a room that is used for a variety of events and not just one purpose, flexibility is key and moving fixtures are what provide that with fewer fixtures.’

For more on Church of the Resurrection’s new Downtown campus, check out our Tech View interview with Kenny Decoursey on page 70. www.chauvetprofessional.com www.cor.org www.starkravingsolutions.com

Vera provides clarity to Saint Therese

LEBANON: Saint Therese Church in Beirut recently required a new sound system as its aging setup was struggling to reinforce the range of music performed during services.

TW Audio Middle East and systems integrator CKA designed and installed a solution for the sanctuary in the form of a Vera10 line array system.

The church seats a congregation of up to 2,000 people. ‘For Lebanon this is a huge number,’ said Chady Akiki, owner of CKA. ‘St Therese is one of the largest churches in the region. Every Monday, Priest Marwan organises a 3-hour prayer and meditation time for the congregation, which brings the community together.

So clearly we needed to guarantee

excellent quality for speech, but there was also a call to support live band performances. This is one of the few houses of worship in the area that can accommodate a full band, but the system installed previously wasn’t really able to cope with the demands of dynamic music. Consequently, there had been some issues with distortion and feedback.’

Priest Marwan at St Therese had taken a keen interest in the church’s A/V systems. He personally visited the offices of TW Audio Middle East, where he was introduced to the Vera10 and Vera L24 enclosures.

‘This combination [of Vera10s and L24s] would give the church superb audio quality for both speech and a

10 WORSHIP AVL November–December 2018

wide variety of musical performances, including solos and full-band activities,’ explained Mr Akiki. ‘When we set up a demo for Priest Marwan, he was astounded by the sound quality. We worked on a detailed design for the church and it wasn’t long before they decided to invest in a full TW Audio system.’

‘The line array needed to blend into the background of the church,’ added Mr Akiki. ‘The Vera system is highly discreet and therefore an ideal match for Saint Therese.’

Following installation, the new sound system is reinforcing the spoken word with clarity, while performances by the worship band

The system installed comprises three Vera10s and one L24 flown each side of the stage. Five C5 enclosures deliver near- and front-fill, while six M10 and seven M8 speakers are distributed throughout the rest of the church. Monitoring on the stage is handled by six C12 wedges. The entire setup is powered by amplifiers from Powersoft’s M and X Series.

have reportedly been ‘transformed’.

‘The church is extremely happy with the outcome and has remarked upon the improvement in terms of overall sound quality and, in particular, the ability to direct the audio more accurately,’ concluded Mr Akiki. www.cka-lb.com www.twaudio.de

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NEWS

Fan-shaped coverage at Cross Church USA: With sites across North West Arkansas and South West Missouri, Cross Church’s main campus in Springdale, Arkansas has been equipped with a new, state-of-the-art sound system with Bose Professional ShowMatch loudspeakers serving as the main PA. The facility’s auditorium is fanshaped, with seats for 2,400 people on the ground and a further 750 on its balcony, as well as 300 seats in each of the room’s side spillways.

The new system was required to ensure good sound with consistent audio coverage throughout the sanctuary.

The church’s former left-centre-right sound system had been installed in 2002 and, even with a significant amount of DSP treatment, was leaving some seating areas without sufficient audio coverage. ‘To move us forward, a great sounding system that would provide uniform coverage was what we were looking for,’

confirmed Leo McGriff, director of technical services for Cross Church, who hired Diversified to design and install the new sound system.

At the recommendation of the Diversified team, Mr McGriff auditioned a Bose ShowMatch demo setup comprising ShowMatch DeltaQ array speakers. ‘With just a single hang and the older

Bose RoomMatch RMS218 subs, coverage was amazing,’ said the director of technical services.

A team of Bose specialists assisted Diversified and Mr McGriff in using the manufacturer’s Modeler room acoustic simulation and field mapping software, as well as the ShowMatch Array Design Tool, to design the new system, predicting

Ris Church reinforced NORWAY: A new sound system, primarily for speech reinforcement, has been installed at Oslo’s Ris Church by ABC Teknikk. As the Romanesque Revival-style landmark features a high, wooden ceiling, stonewalls and a rear balcony, Renkus-Heinz Iconyx digitally steerable loudspeakers were included in the system design.

‘The acoustics were challenging at Ris Church because of its volume and hard surfaces,’ said Sverre Jøssund from Benum, Renkus-

Heinz’s Norwegian distributor.

‘The main sanctuary is about 40m deep. We also encountered issues with standing waves in the lower frequencies.’

Services at Ris follow a traditional format. Music is played from a large, French Romantic-style organ, while a choir sings from the steps in front of the apse. This was taken into account by sound designer Per Amundsen.

The sound system is managed by a BSS Soundweb London Bluseries signal processor. Left and

its acoustic performance in the sanctuary. A total of 66 modules were installed: 36 ShowMatch array speakers for the main seating areas, RMU206 front-fill speakers to localise audio to the stage for those seated closest to the front and 24 ShowMatch SMS118 subwoofers to hit the low-end frequencies.

The setup is powered by 27 Bose PowerMatch PM8500N amplifiers with Toslink network cards, while configuration was handled using the ControlSpace Designer software.

‘When we initially brought the system up, I was overwhelmed by the sound,’ concluded Mr McGriff.

‘The audio was extremely clear and present, with nothing in it that sounded distant. The system is solid, from the first seat in the room to the top of the balcony.’ www.crosschurch.com www.diversifiedus.com www.pro.bose.com

the congregation and away from hard, reflective surfaces.

‘Renkus-Heinz’s Iconyx series is very well known as an acoustic problemsolver in Norwegian churches and city halls,’ stated Mr Jøssund. ‘In a church where you need higher sound pressure levels for loud gospel music, we would suggest the IC Live series.

But, for Ris Church, with its more traditional services, the Iconyx Gen5 solution was the right choice.’

Ris Church right Renkus-Heinz IC16-RN line array speakers form the Iconyx FOH system, aiming sound directly towards

www.abcteknikk.no www.benum.no www.kirken.no/ris www.renkus-heinz.com

Suh Lim Church listens to Logic KOREA: Suh Lim Church’s 1,000seat sanctuary has been equipped with a new sound system from Logic Systems Pro Audio. The British manufacturer supplied 12 Ethos VA speakers and a pair of Ethos Nd218 subwoofers directly from its Lincolnshire factory.

The Ethos VA speakers are deployed in a configuration of six per side, while the Nd218 subs are located on the ground either side of the stage. In addition, Logic Systems

12 WORSHIP AVL November–December 2018

LM12 stage monitors provide feedback to the pastor. The balcony area also utilises speakers from the manufacturer’s installation range.

‘We distribute widely across South Korea and this isn’t our first church installation there,’ commented Mickey Edwards, general manager of Logic Systems. ‘We’re confident the congregation will enjoy the sound quality.’ www.logicsystems.co.uk

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NEWS

Modernising Waziriya Church SOUTH KOREA: In a bid to create a more modern audio atmosphere, Waziriya Church in South Korea opted to completely replace its existing sound system as part of a recent church renovation project.

Calla Media Company was tasked with providing the replacement and, after comparisons between several manufacturers’ solutions, opted for a line array system from Audiocenter.

‘Waziriya Church often hosts services and other activities,’ said Waziriya Church engineer, June Said.

‘The stability, cost/performance ratio and convenience of the equipment is very high and, as an old church, it is very difficult to provide our congregants with good audio – the ceiling is too low and the room is not acoustically treated very well.

Audiocenter’s products solve these problems well. The ultra-convenient

installation and system tuning, and professional after-sales service greatly improved our work efficiency, and the speaker has huge energy output. We have only used 50% of the level to meet the demand.’

The new audio system comprises eight units of K-LA28MA/SP active dual 8-inch full-range line array loudspeakers and a pair of K-LA118DSP active single 18-inch flyable subwoofers flown in L-R hangs either

side of the altar, as well as a pair of PF6+MKII passive single 6-inch full-range cabinets for under-balcony reinforcement.

‘The Audiocenter K-LA28MA/SP series of professional speakers not only has the advantage of system features and price, but also the after-sales service is perfect,’ explained KS Cho from Calla Media Company. ‘Therefore, we didn’t hesitate to recommend Audiocenter for this Korean church project.’

The church and its new system were put into use immediately following the renovation, with a member of the congregation expressing that ‘feeling the music in this way was completely absent before. The new sound is beyond my imagination. I am totally immersed in my own world.’ www.audiocenter.net

Elation to Redemption USA: Chattanooga, Tennessee’s Redemption to the Nations church recently renovated its 2,000-seat sanctuary. This included the installation of an intelligent lighting system from Elation, installed by intyde.

The growing ministry congregates at the site of the former Highland Park Baptist Church, a once iconic megachurch, as well as the campus of the defunct Tennessee Temple University. Wanting to bring its entire congregation together, Redemption to the Nations acquired a 55-acre site in 2014, which became its current campus. Many of the buildings were in need of renovation, including the

main worship auditorium. Planning for the auditorium upgrade began last year with intyde putting together an in-house design build for the

Photos courtesy of intyde

14 WORSHIP AVL November–December 2018

sanctuary, including new audio, video and lighting systems.

‘There was no cohesive lighting concept before, just a mix of static and older automated lights and other discharge fixtures,’ recalled intyde’s integration sales manager, Nathan Tomberlin. ‘Most of the previous lighting was discharge fixtures and the power draw was huge. That was something we wanted to address. It also made for a very warm platform.’

This led to the design of an entirely LED-based lighting system.

‘They save on maintenance costs, upkeep is down and they saved by not having to invest in dimmers and additional transformers,’ noted Mr Tomberlin. ‘We wanted to give them tools to create great moments and,

with the Elation lighting system, I think we’ve done that.’

The rig comprises seven Satura Profiles, 14 Platinum Sevens, 21 Platinum Spot IIIs, 18 ACL360i fixtures, 27 Colour 5 Profiles with a 26° lens and a further six with 36° lenses, and 12 SixBar 500s.

‘Instead of filling up a front truss with ellipsoidals, we started the design by identifying each position on stage and on the house floor, and designed a tri truss layered (upstage, downstage, altar) 3-point focus on front wash with Colour 5 Profiles supplemented with Satura Profiles with their 20,000 lumens of power and framing shutters,’ said Mr Tomberlin. ‘There should always be a balance between design and function, and each fixture should serve a purpose. We needed to provide a powerful back-lighting solution and decided the Platinum Seven with its multi-zones and dynamic zoom range was the best choice for cost/ function. The Platinum Spot LED III was the obvious pairing to the Platinum Seven for the rear spot position with its zoom-able spot with frost and changeable gobos.’ www.elationlighting.com www.intyde.com www.rttn.church

workhorse.

NEWS

Powering the Anjuman El-Saifee Community Centre UK: The Dawoodi Bohra community has spent several years fundraising and planning for the Anjuman El-Saifee Community Centre in Birmingham. As the vision became a reality, Direct Audio Visual was engaged as a systems integrator to equip the new building with an audiovisual solution to assist the

H W IGH ITH P CA OWE RD R IO BA ID SS AR R RA EF UP Y P LEX AN TO RE PA D 8 SE S 13 00 TS UB 4 W DB R W OO MA MS FE X PO RS S W PL E AP R FO PL I R CA QU T IC ION K P FR R EQ ES UE ETS LD NC FO S YR R YST ES DI E PO ST M NS OR S D EC TIO YN ON N- X ® FR DS TO BE EE P UR TE FO M IN P E G R OP RF CH UN TI OR NO IFO MIZ MA LO RM ED G NC Y CO HF E VE WA 3 RA VE FO 6 M GE GU R M I DE 0° DU OR AL 5° -TIL MO T P UN OL B TIN E R UL IRC G EC TR H P AN EP A LY GL TA RU C ES CL GG AB E ED INE PO T W LY IT UR H EA FIN ISH

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imams in clearly delivering their message. The centre comprises a mosque, evening school and sports hall, all of which feature sound systems powered by a Powersoft Ottocanali 4K4 amplifier.

‘With the layout and events that were to be run in the centre, it required installed equipment run as a live event – like trying to equip a nightclub venue with what you would put in a retail environment; two different worlds meeting,’ said Pete Rutherford, owner of Direct Audio Visual. ‘We had to work with cabling laid by a previous installer and make several adjustments.

We also had to consider the lines of symmetry and aesthetic of the building when planning the positioning of the speakers. Time was against us and we faced some delays as we could only work in the buildings at specific times.’

The 8-channel Ottocanali 4K4, offering up to 4,000W at 41, was chosen for its ability to distribute power in multi-zone applications across mid-scale installations such as this. ‘I’d previously worked with the Powersoft Ottocanali before in

distribution centres, which have requirements that are similar to this environment, and found it very effective and had been impressed by its efficiency,’ noted Mr Rutherford.

The Powersoft amplifier drives the Pan Acoustics steerable array inside the mosque, as well as Audac loudspeakers fitted into the ceiling. Voices are captured by Mipro microphones placed where the imams sit and the signal is distributed via an Attero Tech Dante-networked audio interface.

‘We’ve steadily built our credentials in the house of worship sector, where intelligibility is understandably high on the list of priorities when it comes to the audio setup,’ commented Powersoft’s Marc Kocks. ‘The Ottocanali 4K4 addresses the challenges of amplifying in a house of worship environment, where sound distribution must be uniform, easy to control and reliable.’ www.directaudiovisual.co.uk www.powersoft-audio.com

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NEWS

The production of Jesus in Lancaster County

Communicating with Sight & Sound USA: Sight & Sound Theatres produces a live stage show designed to bring the Bible to life.

The theatre company’s 2,000-seat auditorium in Branson, Missouri has recently been equipped with a Bolero wireless intercom from Riedel Communications, allowing the production team to effectively communicate with each other behind the scenes.

A Riedel Artist digital matrix intercom system was already installed in the theatre, and the new Bolero equipment complements this. A total of 56 Bolero beltpacks cover the venue’s equipment room, the area beneath the stage, the catwalks, the animal holding area and the dressing rooms. Sight & Sound had also specified a need for 50 beltpacks to operate simultaneously on stage, which Bolero could facilitate due to its ability to support 10 beltpacks on a single antenna. In addition, there are plans for the theatre to install a stage lift next year, which will see the addition of a further antenna to offer sufficient communications coverage.

‘Our latest show, Samson, uses a significant amount of automation that requires more comms channels and a wireless intercom that can deliver outstanding voice quality anywhere in the auditorium,’ explained Luke Bates, ESFX supervisor for Sight & Sound Theatres. ‘Then, from a safety standpoint, it is absolutely essential that the system is rock solid for those working with and around the animals. We’re glad to continue our collaboration with Riedel. Not only are their technologies extremely reliable, but the Riedel support staff can be

The Branson crew donning Bolero packs

The Riedel Artist digital matrix intercom system in Branson counted on to answer any questions and walk us through any configuration changes we might need.’

Sight & Sound Theatres reportedly chose Bolero after evaluating a range of options. In addition to six fullduplex channels, Bolero provided the backstage crew with wireless 2-way communications and a ‘seamless handover’ that allows team members to move throughout the 30,000m2 space without dropping out. Theatre crew are also able to manage the system remotely.

In addition, the Biblical theatre production company has invested in

16 WORSHIP AVL November–December 2018

a new TiMax spatial reinforcement and immersive audio system for its Lancaster County, Pennsylvania venue, which has just started running a new production titled Jesus.

‘TiMax has given us much greater flexibility in controlling the actors’ mics in relation to their stage zones,’ explained Gary Parke, audio integrator for Sight & Sound. ‘The timeline features and controlling the image definitions for our actors is a big benefit. Currently we are using timecode-triggered cues on TiMax to move the different mic groups or channels to the different zones as the actors move around the stage.’

The show is performed on a 92m wraparound stage and 70 channels of wireless microphones are in use for the actors. These channels are fed via Dante from a Studer Vista console to the 64-channel TiMax SoundHub, either in groups or directly.

TiMax cues then morph the feeds between spatial image definition objects using the distributed in-

house sound system, formed from four arrays of QSC Wideline 10 loudspeakers with four Clair Brothers C8-i speakers for side surround and a further 27 full-range speakers as overheads. Bass support is provided by a central cardioid array of eight Clair CS218s with four EAW SB1000s positioned at the front of the stage.

Front- and side-fill is delivered by 26 EAW JF80s with six EAW full-range speakers managing the rear surround on the main floor. A further four full-range speakers handle the raised seating area.

‘TiMax has given us greater control and flexibility in setting up the image definitions for our many fill speakers,’ noted Mr Parke. ‘This allows for better vocal imaging for more patrons instead of just those in the main array coverage. Without TiMax, we wouldn’t have the detailed control necessary to get the vocals to image as well on the fill systems, with the proper delays.’

Audiences are further immersed in the experience with 3D ambience effects, courtesy of QLab and TiMax, dynamically spatialised by TiMax with cues triggered from timecode.

Once the production of Jesus concludes in Lancaster County, it will move on to run at the Branson theatre. The Branson venue’s sound system has been designed to replicate the one in Lancaster County, allowing show audio content and programming files to be transferred across. www.outboard.co.uk www.riedel.net www.sight-sound.com

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NEWS

Something different for X WKND Willow Creek keeps time

USA: Each year, LifeWay Christian Resources hosts a series of summer camps across America, beginning with the X WKND kick-off event for the summer camp staff members. For the 2018 edition, X WKND returned to the Shocco Springs Conference Center and Elite Multimedia Productions was once again called in to supply the A/V and lighting equipment needed to bring the event to life. However, this time, production designer Jake Brantley decided to give the event a new

perspective, opting to stage it in the round.

‘This year we wanted to do something a little different, so we started talking about what was possible in a gymnasium with very limited rigging points,’ began Mr Brantley. ‘We started playing around with the idea of doing it in the round, but one of the challenges was that the highest point in the ceiling is only at 8m, so we decided to push our LED video surfaces to the outside of the room, facing in.

In this setup, no matter where you were in the house, when you were looking at the stage, your LED visual surface was in the background. It was a unique challenge, but it turned out really well. Peter Streiff at Elite Multimedia did a great job helping us turn our vision into a successful event.’

Having used the same venue for a decade, Mr Brantley and his team were prepared to deal with the challenges presented at Shocco Springs. ‘We scheduled ourselves an extra day of load-in and started almost 36 hours before the event so that we could get it right,’ Mr Brantley noted.

The set was almost entirely formed from LED-based solutions. ‘When working with LED video, the lighting and video have to work in harmony,’ said the production designer. ‘It’s really easy for a programmer to make one more prominent than the other, but if you can truly balance them out it’s a much more cohesive look. Our LD Chris Kulow did an amazing job of blending all of the lighting and production elements together.’

The syllabus was put together

by Prosound technical director and Naledi Award-winning sound designer, Mark Malherbe, and presented by Lee Brune.

Technologies. This allows Willow Creek to control timing signals for its extensive Dante network.

‘Though ever y Dante device can be set up to operate as a master clock, we needed a standalone device capable of handling our expansive Dante network without having issues with latency,’ explained Matt Wentz, the church’s audio systems engineer. ‘We had to increase the latency of the devices we were using to 5ms in some cases, just to keep our network running properly.’

Studio Technologies president Gordon Kapes took it upon himself to provide Mr Wentz and the Willow Creek team an onsite demonstration of the Model 5401.

‘Since Willow Creek’s main campus is in our extended neighbourhood, I was for tunate to be able to work with Matt to see how the Model 5401 could integrate into their workflow,’ said Mr Kapes.

www.actschurch.co.za

www.studio-tech.com

www.prosound.co.za

www.willowcreek.org

www.elitemultimedia.com www.lifeway.com

Prosound brings Sound School to Acts Christian Church SOUTH AFRICA: South African distributor and systems integrator, Prosound, has hosted its Sound School events since 2010, offering those who work with sound systems as part of a wider role, such as a volunteer at a house of worship, with the basic skills they need. For the most recent edition of Sound School, held at the newly renovated Acts Christian Church in Midrand, Prosound chose to design a course specifically for the house of worship market.

Pastor Peter De Fin opened the doors of Acts to host the 3-day class, which provided attendees with an overview of audio principles via both theory and practical lessons.

As part of its recent upgrades, Acts Christian Church was equipped with a Midas Pro X audio console and

a Meyer Sound line array system, provided by Prosound.

The final day of the training was entirely practical, dedicated to setting up for a live band performance with a PA system, including cabling, microphone placement and monitor mixing.

18 WORSHIP AVL November–December 2018

USA: Willow Creek Community Church of Barrington, Illinois has been covered multiple times in Worship AVL, its 75,000m2 main campus receiving more than 25,000 worshippers each week and undergoing a variety of A/V upgrades. The Dante-enabled campus has more recently been equipped with a Model 5401 Dante master clock from Studio

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NEWS: SPECIAL REPORT

Distributing video from far afield Samaritan’s Purse travels to the furthest corners of the world to deliver aid to those in need. James Cooke explores how the Christian humanitarian organisation delivers video content from the most challenging of conditions SHOOTING VIDEO AND DISTRIBUTING it from a remote location can be a daunting prospect for those who have never attempted it before. For house of worship technicians contemplating an on-location shoot at a local event wondering about the possibilities of distributing videos away from home, a look at the work of Samaritan’s Purse proves that footage can be captured and distributed from even the most harsh of environments, serving as an inspiration to budding filmmakers.

Samaritan’s Purse is an evangelical Christian humanitarian organisation that works with churches to provide aid to those in physical need in the form of missionary work. The organisation has offices in America, Canada, Germany and Australia, while its work spreads across Africa, Eastern Europe and Central Asia.

To document the aid it delivers to victims of war, disease, disaster, poverty, famine and persecution, Samaritan’s Purse has a video division that captures on-location

How the TVU Router works footage of its aid workers and those affected by devastating events. This helps to spread the word on how help can be provided, particularly when an incident is being covered in the mainstream press.

Once captured, the footage needs to be delivered from location – a difficult task in war-torn cities or remote villages hit by a flood or a hurricane. Add in unreliable internet connections – or even no web access at all – and it becomes a real challenge to upload large video files.

‘We have to produce our content quickly,’ says Ben Cranor, engineering manager of Samaritan’s Purse’s broadcast department. ‘While events are in the news cycle, we need to communicate immediately the ways in which people can help.’

Mr Cranor and his team needed a solution to help solve these upload issues. The solution presented itself in the form of TVU Networks’ TVU Router, a portable broadband internet access point. As a software option on the manufacturer’s TVU One live mobile IP newsgathering transmitter, TVU Router is designed to offer up to 200Mbps internet bandwidth for high-speed, 2-way data transmission

20 WORSHIP AVL November–December 2018

Samaritan’s Purse providing aid in Mississippi connection for transferring and receiving large files, and video streaming. The TVU One, meanwhile, features HEVC compression for the delivery of HD video with half a second of latency at 3Mbps and can transmit video simultaneously via multiple mediums, including Wi-Fi, Ethernet, mobile and satellite.

‘Now, we can upload video footage from places where, normally, we’d have little to no internet, where it would be difficult at best to get a large, video file back to home base,’ reflects Mr Cranor. ‘TVU Router has been a huge time-save and stressreliever during crucial upload times. At the very least, we’re able to increase our upload speed. But more than that, we can upload files from places we’d normally not be able to send anything at all. In some locations, the cell networks work adequately, but getting internet with plugged-in Ethernet connectivity is impossible.

With TVU Router, we’re able to use a

combination of existing cell networks and several SIM cards to get a connection to send very large files very quickly.’

As well as for distributing video content to media outlets and to Samaritan’s Purse HQ, the TVU Router has also been used when the organisation wishes to stream a statement live to its social media channels from a site with limited internet connectivity. Additionally, the system is also used when internet connection is not an issue to save costs – for example, at a recent event in the USA, the team employed the TVU Router to ensure internet access for its entire technical team on site.

Mr Cranor adds that the system has been relatively simple for his team to use; a case of plug-and-play. The unit is turned on and files are uploaded.

When configuration has been needed in the field, the TVU Networks service team has been quick to provide assistance remotely.

Overall, Mr Cranor states that his team has been impressed with the bandwidth improvements and internet stability delivered by the TVU Router. ‘We can’t wait to see even more increased transfer speeds and additional functions in the future,’ he concludes. www.samaritanspurse.org www.tvunetworks.com

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PROJECTS

Adam Johnston, John Vickers, Paul Keegan, Val Gilbert, Nicholas Poitrenaud, Robin Shamsnejad and Andrew McGrane

Dublin welcomes Pope Francis Of Pope Francis’ three public appearances over an August weekend in Dublin, it was the Festival of Families that put a smile on the face of the supreme pontiff, a musical extravaganza with a cast of thousands, staged with the highest production standards IRELAND’S LARGEST STADIUM, the iconic Croke Park in Dublin, was chosen as the venue for the Festival of Families, the headline event of the World Meeting of Families. This meeting takes place every three years, moving around the world, and attracting many Catholic pilgrims from a global church of some 1.2 billion.

The opportunity to stage the meeting in Dublin, in the presence of the Pope, was a prestigious win for the city and a superb chance to showcase the best in Irish entertainment.

A sell-out audience of 82,500 piled into Croke Park for an event that featured the royalty of the Irish showbiz scene: Daniel O’Donnell, Patrick Burgin, Moya Brennan of Clannad, the cast of Riverdance, the Orchestra of Ireland and a guest appearance by the legendary tenor,

Andrea Bocelli. The human touch was also much in evidence, with testimonial appearances by visitors from all over the world, and song and dance from hundreds of young people.

Management of this epic, largely amateur cast was down to Tyrone Productions, who tasked local company Sound Design Ireland with the job of audio production.

Founded in 1997, Sound Design has become one of the most respected names in the Irish audio business, known for its work with international touring artists and especially its consultancy and design on TV shows like Ireland’s Got Talent and Dancing with the Stars. MD John Vickers also operates a successful distribution business throughout Eire for loudspeaker manufacturer, Nexo.

22 WORSHIP AVL November–December 2018

‘The Festival of Families event is the type of thing we do – we felt it had our name on it from the beginning,’ says Mr Vickers. ‘Over the last two years, we have been using Nexo’s STM modular line array as our main system and we know what it is capable of. The challenge was to assemble enough kit to do a show as big as this, but I was confident of getting the support we needed from Nexo, especially as they were in the frame for a permanent installation at the Croke Park stadium.’

Fast-forwarding to show day, Croke Park was full of Nexo loudspeaker cabinets. Sound Design deployed 175 cabinets of STM for the main PA and delay towers, with many more boxes on stage in various roles. In the roof of the impressive stadium, more than 150 Nexo Geo S12 cabinets are now

permanently affixed, ordered in by stadium owners the Gaelic Athletics Association specifically in time for the Pope’s visit.

‘Apart from being a great-sounding system, the main argument in favour of the STM Series is that it is scalable,’ explains Mr Vickers. ‘Nexo has structured an efficient users’ network, so any rental company in the network can easily cross-hire the additional boxes necessary to expand their own small inventory. At Sound Design, we own 36 of the compact, “omnipurpose” STM M28 modules, which we pair with 14 S118 sub bass cabinets. For Croke Park, we’d expanded our system to 164 main and bass, plus 58 sub bass.

‘We’d watched many other companies doing Croke Park, and we knew that the STM Series was

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PROJECTS the ideal system for the venue. We were confident that we would be able to nail it and that it would sound outstanding. Logistically, it was simple to bring in additional cabinets from our friends at VDB PA in Belgium and Sound of Music in the UK.’ Val Gilbert, Nexo’s chief field support engineer, agrees. ‘Scalability is the key. Because all the amp racks and flyware are the same, STM systems can scale up or down depending on the event. Fixed installations are equally easy to scale up, if the occasion demands it.’

With an ultra-wide stage dominating one end of Croke Park, which is itself one of the widest stadiums in the world, the main PA towers were far apart. Sound Design used sets of STM M46 main plus B112 bass cabinets, with a separate array of S118 subs. Wider still, the side arrays were made up of M28 modules, the smaller of the main cabinet options, which works equally well as a down-fill. The four delay towers are each flying arrays of 12 M28 cabinets, covering the rear of the stadium floor and the lower-level grandstand seating.

‘The M28 is an omnipurpose module, which functions as a down-fill or a standalone system,’ explains Mr Gilbert. ‘The important thing is that it is fully compatible with the other elements within STM, so it completes that huge versatility. Our development mission was to enable our users to go from a tiny little ground-stacked setup, to covering an event with 200,000 people, all with the same boxes. Here at Croke Park, you can see that STM has really delivered on that promise.’

‘We were impressed with the lack of colouration from the rear of the system,’ says Mr Vickers. ‘The noise levels outside the stadium were substantially lower than with other systems, which meant we could run it during the day without upsetting the heavily residential neighbourhood. We

One of the major challenges facing Mr Vickers was ensuring that all speech at the event was crystal clear, especially as the stage included a 20m catwalk extending in front of it and the large Nexo PA. Here the Rupert Neve 5045 Primary Source Enhancer plug-in played a key role, maximising gain before feedback and preventing any unwanted squeals.

‘The Pope’s microphone - a Neumann 105 - was the most critical input of the whole show and his main speech was to be given from this catwalk, in front of the main PA,’ says Mr Metger. ‘Managing this aspect of the system was crucial and the used 28 supplementary S118 subs on the ground and, by running these in cardioid mode, we could drastically reduce the sub bass on stage.’

The Festival of Families represented an interesting footnote in professional audio terms, as it was one of the incredibly rare occasions when a large-format main PA was brought into a venue and tie-lined into a permanent PA installation by and from the same manufacturer.

Mongey Communications Ireland completed a major refit of Croke Park’s PA/VA system earlier this year, installing 156 Nexo long-throw Geo S12-ST line array modules in clusters around three sides of the stadium.

‘This gave us a considerable upside in terms of consistent voicing of the cabinets when we integrated the permanent system into the event PA, specifically for the upper balconies,’ explains Gareth Collyer, Nexo UK sales manager.

At front of house, there were further brand family relations, with Mr Vickers mixing the show on a Rivage PM7 digital desk from Nexo’s parent company, Yamaha. ‘We have been Yamaha users for many years, investing in the PM5D at a time when there was still resistance to digital mixing from many quarters. But we persevered and, of course, it paid

24 WORSHIP AVL November–December 2018

PS15 cabinets featured alongside the 45°N-12 line monitors on stage off,’ says Mr Vickers. ‘As long-term Yamaha users, we knew how wellsuited a Rivage PM7 would be to an event where both music and speech were equally important. Plus, I was fully confident in the reliability of Yamaha consoles.’

The signal routing backbone for the entire show was run from the Rivage PM7. Every input and output coming to and from FOH was routed through a Yamaha TWINLANe network, working seamlessly with Dante, using RPio622 and Rio3224-D I/O racks. This provided up to 400 channels between stage and FOH, with incredibly low latency at a native 96kHz, 32-bit sampling rate.

Hans Metger of Yamaha Commercial Audio was on hand to assist Mr Vickers and his team with the system set up and management. ‘The flexibility and user-friendliness of the Rivage PM7 allowed it to handle everything that was needed. Whether it was having two operators patching and applying processing to the 200+ inputs and outputs or routing inputs between the Dante and TWINLANe networks, the PM7 easily mastered every challenge,’ he says.

With an orchestra, choirs, playback and numerous microphones to accommodate, it was a complex show.

The music was sub mixed before being routed to the Rivage PM7 for the final mix at Mr Vickers’ hands.

Primary Source Enhancer helped us to do just that. Using it alongside a well-designed sound system goes a long way when you are trying to squeeze out every last bit of gain.

Due to the high-profile nature of this show, any extra peace of mind also went a long way!’

Monitors were mixed by Paul Moore and JC Campbell and also strongly featured the Nexo brand, with long-term favourite PS15 cabinets alongside the 45°N-12 line monitors on stage. Sound Design radio techs Sinead Conlan and Alannah Hayes handled 60 channels of radio mics, using Sennheiser 2000 and 3000 Series.

Under the leadership of Tyrone Productions, the event was put together by some of Ireland’s best creative brains: a powerful musical score was arranged and conducted by music director David Brophy; lighting was provided by Production Services Ireland under the direction of LD Peter Canning; and another French connection, Cosmos, delivered spectacular graphic backdrops over three primary screens on stage. The show was broadcast through Ireland live on RTE and distributed to a worldwide audience of millions. www.mongey.ie www.nexo.fr www.sounddesign.ie

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Designing unique audio solutions never dreamed of before.

PROJECTS

A L-R Nexo Geo M10 stereo configuration replaces the previous audio system

RiverLife upgrades from source to mouth After a 12-year gap, Worship AVL returned to RiverLife Church earlier in 2018 following the delivery of a Yamaha PM10 console for the fifth-floor sanctuary. Four months on and we are back in Pasir Ris to report on the full audio upgrade

RiverLife’s Jerry Chua with Yamaha Music’s Darryl Tan and Lawrence Tan

In addition to Nexo, several other vendors were asked to provide demonstrations. ‘Nothing came close in terms of power, coverage and indeed price performance. The Geo M10s are punchy, yet provide this altogether sweeter tone.’ Having unanimously selected the Geo M10, local SI A-Tec installed the L-R configuration over two weeks between Sunday services in June 2018.

Having created simulations using

AUDIO CONSULTANT AND PASIR RIS resident, Jerry Chua, has been instrumental in overseeing the A/V systems at his local church to better serve the musicians and technical volunteers. The Grammynominee recording engineer and percussionist is enjoying presiding over the control surface of the Yamaha PM10 digital console in the centre of the sanctuary. ‘Normally, three volunteers mix FOH vocals, FOH instruments and monitors for the Sunday services, but I jump at the chance of being able to take over when called upon,’ he comments.

The PM10 at FOH is located centrally on the fifth-level sanctuary

The long-serving JBL loudspeakers were in need of replacement and, as such, this allowed RiverLife to grant Mr Chua his wish of an FOH system with a stereo mix as opposed to the distributed system that previously existed. ‘The previous speaker configuration was focused more on the audience, but I wanted more direct audio from the stage.

I attended an outdoor concert at Republic Polytechnic in 2016 using a Nexo Geo M10 speaker system and was extremely impressed, so I asked Yamaha Music to demonstrate them here at RiverLife.’

26 WORSHIP AVL November–December 2018

NS-1 software, Yamaha Music worked closely with Nexo in Paris to create the optimal loudspeaker solution for RiverLife’s worship experience.

The M10 passive module draws on structural and acoustic similarities relating to the Nexo STM M28. Two versions are available and differ by offering 12.5° and 25° vertical dispersion in addition to 80° or 120° horizontal dispersion. The 2-way cabinet combines a single 10-inch

PROJECTS neodymium LF driver with a 1.4-inch titanium diaphragm HF driver and operates within a frequency response of 59Hz to 20kHz. Each L-R hang combines eight 21kg cabinets, for which the eighth 10-inch speaker is an M1025 downfill model providing 25° vertical x 120° horizontal dispersion for more even coverage across the seats closer to the stage.

A central hang combines four LS18 single 18-inch subwoofers with a pair of ID24 cabinets for low-frequency extension and front-fill coverage, respectively. All 18 speakers and four subs are powered by just one NXAmp4x1 and two Yamaha NXAmp4x4 amplifiers. Incorporating DSP parameters, the three amps are managed and controlled over the Dante network.

In terms of construction, A-Tec created secondary beams above the ceiling for suspending the 300kg loudspeaker hangs, while loudspeaker cabling was routed through new conduits to the amplifier rack located at back of house. The existing distributed fill and delay speakers were removed prior to this and now the Nexo system is being put through its paces.

‘We’re now running the M10s at 85dB – previously this was 95dB,’ comments Mr Chua. ‘RiverLife is located in a neighbourhood area and, as a result, I doubt if local residents will be filing any complaints. However, it’s reassuring to be receiving so many compliments from the congregants as well as the church leaders. Likewise, the musicians appear happier as they are receiving

The central array combines four Nexo LS18 subs with two ID24 front-fills

leaders can now monitor their own performances courtesy of four Nexo PS15 speakers on stage.

With the upgrade complete, Mr Chua feels the technical team can focus more on the worship element than having to continuously configure the audio. ‘The previous analogue

Each L-R array incorporates eight Nexo Geo M10 cabinets more bass response and have lowered the volume of their IEMs as a result.’

The musicians at RiverLife rely upon a Digital Audio Labs LiveMix platform for their personal monitoring needs. The 12 units provide 24 channels of individual monitoring, although the FOH technician can listen in on any channel to get the right mix when required. Like the PM10 console and the NX amplifiers, it operates over the Dante network. Deprived of IEM technology, the worship

Devoid of a ceiling-suspended distributed audio system, RiverLife has a cleaner view system was great in its day but had decayed over the years. As such, the operators here were constantly having to adjust settings and congregants were still complaining that they couldn’t properly hear the service. That’s no longer the case and I feel that my work is now done.’

Trying to imagine the Grammynominee sat anywhere else than at the control helms of the PM10 is somewhat hard to envisage. www.nexo-sa.com www.riverlife.org.sg

1/2PAGE 1/2PAGE HORIZONTAL Kling & Freitag balances passion with precision for uncompromising audio quality and 'German engineering'.

We are driven by a desire to provide and technically guarantee music and sound as a genuine sound experience. This is what each product by Kling & Freitag stands for - or, as we say, 'Passion built in'.

November–December July–August 39 September–October 45 May–June 2018 43 July-August 2017WORSHIP WORSHIPAVL AVL 27 25 September–October 13

PROJECTS

The Main Arena seats up to 6,000 worshippers

Uniting thousands in worship Karen Wallace charts how the equipment at New Wine’s United events has evolved over the past 25 years CONSISTING OF TWO 1-WEEK events, United 18 took place at the end of July at the Bath & West Showground in the beautiful English county of Somerset. The annual gathering is organised by New Wine, a national network of over 2,000 churches organised locally to support and encourage church leadership.

The 30th edition of the event saw thousands of visitors attend various live music and comedy events, Bible teachings and seminars held in different locations across the showground. Ranging from the Main Arena seating up to 6,000 worshippers to the alternative Hungry stage, visitors could pick and choose how they want to celebrate what God has been doing in their lives.

Rental specialist Wigwam Acoustics has been involved in the event for almost 25 years. In 1994, New Wine invited Wigwam to supply a sound system design based on providing intelligible audio for every seat in the showground’s Main Arena. The design was such a success that New Wine has contracted Wigwam every year since.

‘The technology has evolved massively over the years,’ explains David Orridge, project manager at Wigwam. ‘So, whereas we would have had a lot of analogue desks many years ago, now everything’s pretty much digital, so it means that the consoles are lighter and the desks are more compact.’

Wigwam supplies the majority of the audio equipment for the event, with New Wine owning a handful of speakers, personal mixers and cabling. ‘We have five articulated trucks for this gig,’ continues Mr Orridge. ‘Two are full of audio, two are full of lighting and one has the ground support truss and the LED

Stacked d&B C4s in youth venue Thirst

28 WORSHIP AVL November–December 2018

d&b V-Series line arrays in the Main Arena screens. We’ve worked really hard over the years to condense everything and make things more compact.’ Just one Allen & Heath analogue desk featured at United 18 in Stomping Ground, one of the children’s venues.

‘The first thing to go up is the ground support truss, then we add the lights and speakers and after that the LED screens go on too,’ explains Mr Orridge. ‘We start with the truss on Tuesday and we add the speakers on Wednesday. The first team meeting is Friday night, so we’ve got

those days to get everybody ready and then Saturday night is the first event.

‘This is one of the more complex events that Wigwam is involved in because of the amount of people and equipment we use,’ states Mr Orridge. The three biggest venues – the Main Arena, Impact and Hungry – use a combination of d&b V-Series and Y-Series and DiGiCo SD8 consoles. Youth venue Thirst comprises two Yamaha PM5Ds with d&b C4s and B22s, while the evening

PROJECTS venue, Tearfund, combines an Allen & Heath iLive desk with d&b Y-Series loudspeakers. Children’s venues Rock Solid, Ground Breakers and Boulder Gang all use d&b Y-Series with Allen & Heath Qu-32s in two of them and a DiGiCo S21 in the third.

‘Pebbles [ages three to four] uses d&b M6 monitors – some of the venues don’t really need loud wedges but they need to sound good and the M6 is nice and compact’, points out Mr Orridge.

‘A lot of the desks like the Allen & Heath Qu-16s fit perfectly because of their compact size. Match that with some d&b Y-Series and some M6 monitors and you’ve got a really compact but substantial system,’ the project manager adds.

With nearly 30 people on site across the two weeks, part of the Wigwam crew is made up of volunteers.

‘Normally on a big tour you’re focusing on one system and you’ve got a team of guys that has been touring together for a while. With New Wine, there’s lots of different venues and so many pieces of equipment, plus there’s also a team of volunteers that we help train during the event. This is one of the few gigs that we allow the volunteers to help because it’s a safe environment – safe because there’s some “play time” between events when they can try out the different desks and it’s a low-pressured environment compared with a big gig.’

Volunteers as young as 16 years of age are given the chance to work at FOH during the many performances across the two weeks. ‘We think New Wine is a really good environment for people to learn,’ explains Mr Orridge.

‘We’ve got lots of different systems, including line arrays, stacked C4s, loudspeakers on stands and maybe eight different consoles, so we give them the opportunity to spend

A DiGiCo SD8 console at FOH in the Main Arena

Kids’ venue Boulder Gang with d&b Y-Series and Allen & Heath Qu-32 some time with the engineers and sometimes they end up mixing a seminar. There are not many other gigs where they get the opportunity to try out so many different pieces of equipment.

‘I’m always on the lookout for volunteers,’ he adds. ‘You never know where they could be in 10 years’ time.

We would never put someone in a position where we don’t think they can

cope with the setup and there’s some very experienced engineers on site that can help if they need it.’

New Wine employs Wigwam to oversee the ground support, the truss in the Main Arena and the lighting.

‘The lighting equipment and LED screens are sub-hired but we oversee it all,’ explains Mr Orridge. ‘We use Lite Alternative who are in Blackburn; they’re our lighting supplier. Creative

Onsite provides all our LED screens for the Main Arena. New Wine employs Bonham Powell for all the video work – we provide them the feed from the mixing desks but they do the rest.’

However, just when Mr Orridge and his team have got everything right, they’re faced with a change of venue for United 19. ‘We’re constantly looking to improve things – we have a lot of experience from the Bath & West Showground which can be transferred to the new site in Peterborough, so we are confident.

One of the challenges here in Somerset is that the main marquees don’t allow us to hang that much weight so we rely on ground support but, next year in Peterborough, it’s a hard-standing structure with hanging points in the roof which will give us a lot more options.’

However, with Wigwam at the helm for almost 25 years, there’s no doubt that United 19 will be in safe hands. www.new-wine.org www.sseaudiogroup.com/wigwam

1/4 horizontal

November–December 2018 WORSHIP AVL 29

PROJECTS

All creatures great and small

The unassuming exterior of Emmanuel @ Everitt

Resonate Solutions’ Luther Ong with Pastor Jireh

Richard Lawn explores why Emmanuel Assembly of God has returned to its roots in a quiet residential area of Singapore CURRENTLY CELEBRATING ITS 60th anniversary, Emmanuel Assembly of God completed a remarkable return to its roots on Everitt North Road in 2017. This does not mean to suggest that it has downsized in any way, as the reverse is true for all Singaporean churches.

Purchased in 1985, the current church on Upper East Coast Road was rebuilt as a 4-storey building a decade later and continues to draw a sizeable catchment area of followers.

So why has the church decided to create a neighbourhood church with capacity for 60 worshippers in a quiet residential area close to Eunos?

Following a storm in 2010, a major flood rendered the building unusable.

Closed for safety reasons, the property took seven years to rebuild.

In addition, strict planning restrictions ensured plenty of red tape negotiations were needed to comply with the residential demands of noise and congestion. ‘Emmanuel Assembly of God is currently looking

The Emmanuel Assembly of God seats up to 60 congregants to expand its outreach of community churches including this original one that it has owned since 1958,’ explains Pastor Jireh.

A noted Polish acoustical interior designer, Radek, was called upon to create a contemporary look, while particular attention was placed on the acoustic properties of the building. ‘No. 23 is a residence and the church butts on to this,’

30 WORSHIP AVL November–December 2018

furthers Pastor Jireh. ‘Therefore, we had to construct three wall layers with air gaps between them. In addition, the rear and lateral walls have toughened glazing that does not permeate any SPLs. The front wall was expensive to reconstruct as it has been fitted with a customised sheet of Oberflex panelling flown in from France.’ In addition, the interior walls and ceiling have also been

tastefully treated with diffusers and absorbers.

Emmanuel @ Everitt is a design masterpiece that heightens the worship experience in every way. As such, the audio and video technology has been added to enhance the senses of those attending the Chinese Mandarin and English services without upsetting the neighbours or distracting the congregants from the spoken word.

The 5m x 1.5m (WxD) stage limits musical performances to three singers and three musicians, including a guitarist and a pianist tinkling on a 73-key Korg Grandstage keyboard.

Mirroring the property, Pastor Jireh sought a loudspeaker system that would be small, compact and powerful. Having researched the internet for a bespoke solution, he was drawn to an LD Systems Curv 500 PS system and travelled to the Adam Hall showroom in Woodlands for a demonstration. ‘The demo really did make the sale,’ he continues. ‘I couldn’t believe the power and the clarity of the speakers when listening to both live music and speech. Yet

PROJECTS it is so small and compact that I knew that it would not distract the worshippers or conflict with the musicians on stage for much needed space. Ultimately, it also came in on budget as we had little funding following the extensive reconstruction and acoustic works.’

Ltd, the audio solution also draws upon a QSC TouchMix-16 digital mixer for its bespoke needs.

‘The TouchMix-16 touch-and-turn interface is very user-friendly and, as such, our volunteers have found it to be very intuitive,’ explains Pastor Jireh. Integrating 16 mic/line inputs

A simple Curv 500 PS system serves the church’s spoken word and musical requirements

A QSC TouchMix-16 provides ease of use digital mixing The L-R plug-and-play system combines four 120mm x 120mm elements, each combining one 4-inch woofer with three 1-inch HF drivers.

Housed in unibody aluminium, the Curv 500 array satellites are coupled together courtesy of a SmartLink adapter and pole-mounted to dual 10-inch Class-D powered subwoofers located under the stage and connected through a 50mm recess. Sensitively installed by Resonate Solutions Pte

and 12 outputs, TouchMix also comes with Class-A mic preamps, anti-feedback and room tuning wizards, a real-time analyser (RTA) and 20-channel direct-to-external-drive recording capabilities. The latest 1.3 firmware update adds an automatic microphone mixer designed to reduce feedback while minimising extraneous noise.

A 16-input stage box has been recessed into the rear wall behind

the Korg Grandstage keyboard, into which all the instruments and vocal microphones are connected. These include two channels of Sennheiser XS wireless handheld and one AudioTechnica M3T UHF head-worn model.

Completing the audio signal chain, Resonate’s Luther Ong recommended the use of Klotz MY206 and Belden loudspeaker cables together with a Furman G210A E power conditioner.

Like the audio, the video technology is somewhat minimalist but, nonetheless, required craft in its design and installation. A rear-wall, 55-inch LED screen serves as a confidence monitor for Pastor Jireh,

while a motorised screen at the rear of the stage displays lyrics from an Epson EB-G6900WU short-throw projector. The projector receives its resultant image from an Extron MPS 601 media presentation switcher that can route up to six inputs.

Behind the stylish exterior, neighbours are possibly none the wiser as to what lurks behind the acoustically soundproofed doors and walls at Emmanuel @ Everitt. In an age when young congregants and many older ones flock to the contemporary rock ‘n’ roll style houses of worship for their guidance or perhaps entertainment, such neighbourhood churches may not be in vogue. The congregants at No. 25 will be hoping their small but perfectly formed church remains off the radar. www.emmanuel.org.sg www.ld-systems.com www.resonate.com.sg

A Korg Grandstage keyboard was supplied by Luther Music

• Multi-channel digital wireless monitoring system • Two stereo channels for IEM applications • Four discrete channels for IFB applications • Digital RF modulation and 24-bit digital audio • Over 5,000 frequencies from 470.100 to 607.375 MHz • Wireless Designer™ software included • Latency with Dante input: 1ms + Dante latency • Latency with analog input: <1.4ms • Transmitter housed in 1RU half-rack chassis

1/2PAGE HORIZONTAL

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31

PROJECTS

Bigger in Texas With an ever-growing congregation, Odessa’s Life Challenge Church has built a new auditorium. James Cooke takes a look inside ONE OF THE BIGGEST CHALLENGES faced by houses of worship, both figuratively and literally, is what to do when the congregation outgrows the sanctuary. The word challenge happens to be the middle name of one particular Texas church, Life Challenge Church in Odessa, which met the need for more room by building a brand-new auditorium.

With the construction of a new building comes the requirement for new A/V solutions and the responsibility of overseeing such a large project fell to the church’s technical director, Gabriel Loera.

‘Being a Pentecostal church, one of the essential needs is meeting our form of praise: worship and preaching,’ begins Mr Loera. ‘It’s dynamic and loud, with intense, fiery preachers.

We needed a sound system first and foremost that could overcome the loud crowd, as our congregants love to participate in sermons. We needed something that could provide concertlevel sound.’

The Life Challenge Church team contracted Sweet Southern Sound to design and install the sound system to meet these needs, as well as the visual and lighting solutions required to engage with modern worshippers.

‘Administrators at Life Challenge had a vision for a beautiful new sanctuary that would include state-of-the-art audio, lighting and video systems,’ says Clint Hill, owner of Sweet Southern Sound. ‘When we came into the project, Adamson’s IS-Series

had just recently hit the market and we knew right away that it was the ideal solution to meet their needs. In addition to the top-tier audio quality and intelligibility for which Adamson is well-known, the IS-Series’ clean look and discreet rigging system keeps the focus on the aesthetic of the space and, more importantly, the words or music being shared.’

Sweet Southern Sound installed 16 Adamson IS7 loudspeakers, flown eight per side, with a pair of IS118 subwoofers hung behind each array. A further three IS118s are also positioned beneath the centre lip of the stage for deeper low end extension.

‘We went through several options when it came to sound,’ confirms Mr Loera. ‘I knew Adamson by reputation and, when Sweet Southern Sound brought them to us, I thought they might be a match for our pumping, in-your-face style of services. I had never heard the IS-Series before, but I trusted the Sweet Southern team and it worked out great.’

Lab.gruppen amplifiers are used to power the Adamson enclosures.

‘Sweet Southern Sound informed us that our setup was one of the first systems to use these speakers while utilising Lab.gruppen amps and Lake processing,’ notes Mr Loera.

Joining the Adamson cabinets to form the complete audio system is a monitoring setup formed of eight Adamson Point 8s – four as stage wedges and four as front-fills – as well

32 WORSHIP AVL November–December 2018

as 13 Shure PSM 900 in-ear personal monitoring systems. Capturing the sounds of the preachers and musicians are 13 Shure ULX-D digital wireless microphone systems utilising HiQnet as well as Dante software. A Soundcraft Vi2000 digital live mixing console is set up at front of house.

The house lighting was installed by the electrical contractor hired for the auditorium’s construction work. However, a splash of colour was desired in keeping with Life Challenge’s dynamic services.

‘We considered a change to coloured lights for the house lighting to wash the crowd in colour, but this would have come at quite a cost,’ Mr Loera explains. ‘Colour rendering has come

a long way since our church last installed a lighting system and we saw how much it enhanced services at other churches and we wanted to have that in our new facility too. I follow Chauvet Lighting and asked Sweet Southern Sound what they thought of the brand and whether some of their fixtures could be installed to create a better worship environment, in addition to the house lighting.’

This led to Sweet Southern Sound installing a range of Chauvet lights, including eight Ovation E-910FC ellipsoidals for key lighting on upstage and downstage truss; three Maverick MK1 Spots, hung on truss above the front pews and used for creating textures on the stage; and 12

PROJECTS Colorado 1 Solo wash lights hung on truss, positioned stage-left, stage-right and upstage. In addition, 16 Ovation F-265WW Fresnels and 12 Ovation E-260WW ellipsoidals, positioned throughout the rig, are used for altar and stage lighting. The entire lighting rig is controlled from a High End Systems Road Hog 4 lighting console.

The design also called for Chauvet’s new Ovation F-915FC colour-mixing, Fresnel-style fixture, although this hadn’t started shipping yet when Sweet Southern Sound carried out the installation.

‘We actually installed the Ovation F-915FC lights ourselves, as they weren’t available until after Sweet Southern Sound had finished their work here,’ says Mr Loera. ‘I’ve had previous experience of setting up and installing lighting in our old auditorium.

Plus, Sweet Southern Sound had done the programming for us initially, so it was a simple case of plug-and-play.’

Mr Loera and his team hung four Ovation F-915FC fixtures in the rig just in front of the middle section of pews, positioning two of the units to the left and two to the right of centre. Utilising the motorised zoom and wide (30° to 85°) field angle of these fixtures, the church is able to achieve tight coverage areas and a total wash of the entire audience area.

‘From where I have the Fresnels positioned, I can cover any area of the church with only four units,’ the technical director says. ‘I can dial in and focus on a specific section, and I can use the RGBAL colour-mixing system to get any colour I want. So, this gives me a lot of flexibility to reflect our services in light.’

As for visuals, a trio of IMAG (image magnification) screens, located on the wall at the back of the stage and to the left and right, allow all members of the congregation to see clearly. They, along with a rear projection screen set up as a confidence display, are

add some of the automated electrical power sequencing, add separate audio consoles to manage the in-ear monitors as well as broadcast, and I want to expand our house lighting. It may have taken us a little longer to finally reach this point, but we can say as a church we’re debt-free. Everything inside and out of the building is paid for. All of the AVL technologies are paid for. There are not many churches that can build and install equipment of this calibre and say they are debt-free on opening day.’

Lighting and projection provides a splash of colour beamed visuals from the church’s fleet of Blackmagic Design HD Studio Cameras and content from Renewed Vision’s ProPresenter worship presentation software via three Optoma 8K ZU850 laser projectors. A Kramer video switcher also distributes content to seven screens located throughout the rest of the building.

‘IMAG was needed for the new building due to its size and the fact that some congregants will be up on the balcony,’ says Mr Loera.

In addition to IMAG, Life Challenge’s new sanctuary is equipped with a further three 8,000-lumen Optoma 8K ZU850 laser projectors, providing environmental projection. ‘While we wanted the lighting to help immerse the congregation into what was happening onstage, we chose to take things a step further with the inclusion of environmental projection,’ Mr Loera explains. ‘We can use environmental projection to transform our sanctuary into any environment or setting at the click of a button. For our recent 4th of July celebrations, we were able to drape the entire room in the American flag.’

Environmental projection further immerses the congregation during sermons

34 WORSHIP AVL November–December 2018

Life Challenge Church’s new auditorium is up and running, welcoming congregants each and every week. Feedback so far has been extremely positive, but Mr Loera admits that there were challenges in getting the facility ready.

‘The main obstacle we had to overcome was due to planning,’ he says. ‘Sound and lighting weren’t at the forefront for those who were planning the building’s construction.

Therefore, we had to essentially retrofit the new building when it came to installing A/V equipment and we’re still optimising the systems as a result.’

Obstacles may have been overcome and the building is open, but the work doesn’t stop there. ‘We’re still not done with the new auditorium,’ enthuses Mr Loera. ‘We still need to apply some acoustical panelling,

While the additional works are carried out in the new auditorium, Life Challenge Church is also renovating its old building, located next door, to convert it into a youth auditorium.

‘The feedback from our congregation in the new sanctuary has been phenomenal,’ concludes Mr Loera.

‘This is especially thanks to the clarity and transparency of the Adamson speakers. Even out of the box, before we EQ’d them, they sounded great.

Everyone loves the environmental projection. It has added a whole new element to our services, turning the room into anything and taking us anywhere. We can’t wait to see what God has in store for the future.’ www.adamsonsystems.com www.chauvetprofessional.com www.lcodessa.org www.sweetsouthernsound.com

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KnowHOW

Portable lighting for video applications John Black discovers the different lighting options HOWs can use for shooting video outdoors IN THE LIGHTING EDUCATION series, the majority of topics tend to focus on lighting tips and techniques for the stage, and from the perspective of viewing with the human eye. Just as important, however, are considerations for how a scene or subject looks to the ‘eye’ of a camera. Video content is everywhere – pre-service announcements, message illustrations, live streaming and more. When incorporating video for image-magnification (IMAG) or live streaming, an incredible amount of coordination between the video and the lighting teams must take place.

In this piece, rather than focusing on lighting for video of the live

MEET THE AUTHOR John Black serves as the theatre manager for Seoul Foreign School in Seoul, South Korea. Holding a degree in Theatre Design, he provides technical production support and design in three state-of-the-art performance venues on campus for over 40 major concerts and productions a year in the areas of sound, lighting, video and staging.

John especially enjoys sharing his passion for entertainment technology with high-school students each year through his student production team, Crusader Live!, giving students the opportunity to learn and work with professional-level technologies in a demanding production environment.

John Black, theatre manager for Seoul Foreign School

1/2PAGE HORIZONTAL Our toughest directional microphone yet, the precision side-address pattern of the H7 captures your performance and shuts out feedback and surrounding noise.

36 WORSHIP AVL November–December 2018

programme, we’ll explore some lighting tips for when you are recording video in the field. Field video may include recording content such as interviews, short skits or announcements to be played during a service. It may be indoors, outdoors, in poorly lit locations, in well-lit locations or anything in between. When you are in the field, you may have a lot of control over the lighting, or you may have very little.

It is my hope that, at the end of this piece, you will have a few tips available to help you achieve the lighting you are looking for to produce video content in the field.

Let’s get started!

KnowHOW Some considerations Before investing in high-end portable lighting for video, I encourage you to consider as many possible scenarios that you will be shooting as possible. Remember that in field production, you will need to carry – or cart – all of your equipment with you, so the more equipment you have, or the larger and heavier the equipment is, the more work it will be to set up. This is especially true if you are shooting in multiple locations back-to-back.

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Consider whether you will be shooting primarily indoors or outdoors. If you are primarily shooting outdoors, be sure to think first about the times of day and location of the sun when shooting. There is often plenty of light available naturally and, instead of purchasing heavy or expensive lighting fixtures, you can use reflector boards to redirect the existing light to better balance highlights and shadows on the subject in the frame. You can choose to shoot at different times of the day or orient the shot differently to suit your lighting needs.

If you are shooting primarily indoors in locations that are well-lit, such as a public store or restaurant, you may find that you only need to supplement the lighting available a little bit. Perhaps the background is welllit and you only need a bit more key light to brighten up your subject.

Alternatively, perhaps your subject is well-lit, but the background in the shot needs more light. If you are shooting indoors in locations

that are not well-lit, such as an abandoned building, you may need to bring in a full lighting package to provide key light, fill light and backlight for the shot. If you know that this may not be a reality for you, then there is no need to purchase a full lighting kit.

Dracast S Series LED500 front and rear

and it may also be possible to create your own DIY lighting package. Don’t forget that there may be 10 different creative ways of achieving the same effect and, so long as you can achieve what you want in the final product, it really doesn’t matter which method you use.

DIY tips Also, consider your budget.

High-end professional lighting equipment can be quite expensive.

There are numerous products available on the market geared towards the prosumer or amateur videographer that work quite well,

Let’s first take a look at some inexpensive, do-it-yourself techniques that you can use in the field. As I mentioned earlier, there may be many times – especially outdoors – where the amount

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KnowHOW of light available is not an issue, but where you need to be able to control how it is hitting your subject. For example, it may be that your subject has bright, direct sunlight hitting them on one side of the face, so you want to diffuse that light to blend more evenly. It may also be that the angle of the light is creating deep shadows under the chin and brow and you want to reďŹ&#x201A;ect some of the light back up to ďŹ ll in those shadows. Both of these situations use the existing daylight and control how it approaches your subject, without the need to supplement with additional lighting ďŹ xtures.

ReďŹ&#x201A;ector boards are used to redirect light. You can purchase professional reďŹ&#x201A;ector boards, but you can also use common, inexpensive materials, including a car windscreen sunshade, aluminium foil on cardboard, a white styrofoam panel or any other light-coloured, reďŹ&#x201A;ective surface. As materials differ, the quantity and quality of the light reďŹ&#x201A;ecting off of them will also differ, so you will have to experiment with what works best on camera.

Diffusers are used to spread out light and ďŹ x a harsh light beam or source. You can create a diffuser with some common materials, such as wax paper, linens such as pillow cases and window shades, frosted shower curtains or any other materials that allow light to pass through, but that are not transparent. Sometimes you can simply reorient or reposition a subject to avoid unwanted harsh light but, if you are unable to, then a diffuser can help.

Impactâ&#x20AC;&#x2122;s R2522-51 collapsible reďŹ&#x201A;ector If you are shooting outdoors in low light, or if you are shooting indoors and need additional light, you can easily purchase inexpensive work lights (can lights) from a hardware store and standard light bulbs. When working with DIY lighting, be sure to consider the colour temperature of the bulbs and the features of your camera available for adjusting white balance. Standard halogen or incandescent lamps can appear quite yellow; while ďŹ&#x201A;uorescent and white LED lamps can appear quite blue. Tr y to ďŹ nd a bulb with a colour temperature between 3,200K and 5,600K, which is the colour temperature range of natural daylight typically found between mid-morning and noon.

When using a lighting ďŹ xture, keep in mind the basic 3-point lighting method and consider what is needed in your shooting environment.

It may be that using a single ďŹ xture is all that you need to ďŹ x a shot, some dark shadows or the light in the background. Be careful not to overdo it, as adding too much light or placing it at the wrong angle may adversely impact the natural light in the scene.

Low-cost equipment

The Arri SkyPanel S60-C

If DIY isnâ&#x20AC;&#x2122;t your thing and you would prefer to look at purposemade products, there are a number of options available on the market at reasonable prices. Again, consider your primar y shooting

38 WORSHIP AVL Novemberâ&#x20AC;&#x201C;December 2018

scenarios and locations before you invest in your own equipment.

When it comes to reďŹ&#x201A;ectors, I would recommend collapsible reďŹ&#x201A;ector boards as they will be much more por table than larger, heavierframed versions.

Some will come with a stand, but many will come with handles for a crew member to hold during a shoot. Many products will come in a variety pack of sur faces.

For example, you can ďŹ nd sets that include a translucent, white, black, gold and silver sur face in the package, and each sur face has

There is often plenty of light available naturally and, instead of purchasing heavy or expensive OLJKWLQJ Ă&#x20AC;[WXUHV you can use UHĂ HFWRU ERDUGV to redirect the existing light different reďŹ&#x201A;ective proper ties. The black sur face can be used to block unwanted light.

Diffusers are typically found as accessories to lighting ďŹ xtures, such as umbrellas, soft boxes and diffusion gels. These are ver y useful to have when setting up and using lighting ďŹ xtures, and often are sold as accessories or in packages with the ďŹ xtures.

If needing to diffuse natural light such as sunlight, you can purchase a scrim kit, which is a fabric material stretched on a stand. When placed between a subject and the sun (directly in the â&#x20AC;&#x2DC;beamâ&#x20AC;&#x2122;), it will help control the harshness of the light and soften it out.

If you are needing to add additional light to a scene, there are a number of lighting ďŹ xture options available that you may

ďŹ nd useful. The simplest lighting ďŹ xture option includes LED oncamera lights that take advantage of the accessor y shoe mount on a camera. Some of these units can be powered directly from the camera, while others require a separate batter y for a DC power adapter. Some may also include an attachment arm to a tripod instead of mounting directly to the camera.

If you are needing to completely light a scene from scratch, itâ&#x20AC;&#x2122;s hard to beat the size, weight and por tability of LED ďŹ xtures. You can ďŹ nd LED lighting kits with two or three ďŹ xtures and por table travel cases inexpensively. Be sure that you have scouted out power supplies in your location to power the ďŹ xtures, although there are some that will run on batteries.

Many of these ďŹ xtures â&#x20AC;&#x201C; both on-camera and large stand lights â&#x20AC;&#x201C; feature adjustable colour temperature (for example, 3,200K to 5,600K) and may include a diffusion ďŹ lter or two speciďŹ cally designed for mounting on the

An Airstar Tube lighting an outdoor location ďŹ xture. They may also include dimming capability speciďŹ cally conďŹ gured to avoid ďŹ&#x201A;icker and colour temperature changes. This allows you to use the same ďŹ xture model for a variety of situations, such as a key light, ďŹ ll light, backlight or background light. If youâ&#x20AC;&#x2122;re looking for a quick, easy setup in mostly well-lit situations, itâ&#x20AC;&#x2122;s hard to beat the beneďŹ ts of an on-camera ďŹ xture.

As you can see, por table lighting solutions for video work in the field donâ&#x20AC;&#x2122;t have to be complicated or expensive. As always, experiment with your camera in dif ferent lighting situations to learn how the sensor captures dif ferent types of light. Eventually you will be able to look at a scene, know how your camera is going to react and know exactly what you need to do to fix any lighting issues. This ar ticle has just scratched the sur face of tools that are available to help you create high-quality videos for your house of worship.

KnowHOW

Choosing and placing a subwoofer Gordon Moore looks at the impact our hearing has on the placement of subwoofers MOST PA SPEAKERS ARE NOT designed to optimise bass response.

They are designed to deliver the mids and highs efficiently and in a wellbalanced manner. Low frequencies require more specialised drivers and amplifiers to deliver optimal performance. In the circuit designs, impedances get generally lower as frequencies drop, so making the amplifier specifically for subwoofer use is a preferred route.

Hence the rise of the subwoofer. In this article, we will be using the term subwoofer to describe a complete low-frequency speaker system (driver, cabinet, venting, etc.) – the finished product. The subwoofer is a speaker designed specifically for reproducing the low frequencies – the bass part of the audible spectrum. In the past, subwoofers were generally very large diaphragm speakers with large magnets. Today, modern materials and magnet metallurgy have allowed the subwoofer to be a smaller diaphragm unit with long excursion (range of motion) capabilities that allow the longer, slower stroke required to reproduce the sound. High volume levels, however, still require large surface areas. In some subwoofer designs, the surface area is made up of many smaller transducers where the more traditional speaker will have a large single diaphragm driver.

Regardless of physical design, the choice will be subject to a series of parameters: Flown with the line array – adding a subwoofer to a flown line array is generally simple. Nearly all flown line array systems offer a compatible subwoofer cabinet designed specifically for the array. Both from a visual point of view and a compatibility point of view, it is advisable to stay within the same family of products.

Properly hanging a subwoofer/line array allows careful alignment of coverage patterns and lends to better safety practices. Remember, hanging speakers is not for the untrained installers – it is not a do-it-yourself project. This type of installation suspends literally tens to hundreds of

Subwoofer kilos of deadweight at height which, if it fails, can quite literally kill anyone under it. Use licensed and insured installers to hang speaker clusters.

Properly installed, they will need little maintenance and will avoid the buzzing and rattling of nearby objects.

After installation, run a long sweep tone, from 30Hz to 20kHz, and listen for any buzzing or rattling. If you hear any ‘buzziness’, first make certain you are not overdriving the system at any point along the gain staging. I was involved in an installation where there was a severe buzz from the hanging cluster which was 8m in the air. After renting a lift and several hours aloft, we found no problem with the speakers. It turned out that the input trim for the test tones was too ‘hot’ and the input was distorting just a little bit – it sounded like a mechanical rattle. Had we listened to the mixer via headphones, we would have discovered the error early on and avoided the lift rental and time in the air. If your signal is clean and you still hear a buzz during the sweep tone, then carefully examine all the hanging hardware to make certain it is not rattling. I found a chain suspended speaker once that had a loose link.

Taping the link with gaffer tape stopped the aggravating noise.

Freestanding – these units allow you more flexibility in the selection of your subwoofer. Remember that very low frequencies are difficult to localise by the human ear. This human drawback can be used to your advantage in your system design. You can select a pattern, a cabinet size and place the

40 WORSHIP AVL November–December 2018

Flown array speaker in any position you wish. If the subwoofer is most conveniently set off to one side of the sanctuary, remember that most of the listeners will have no perception of the direction of those low-frequency sources.

Indeed, all localisation of the signal will be based on the mid- and upper frequencies. If you are installing an L-R or L-C-R system, placement of your mid- and upper-range drivers are more important than the sub. You have much greater leeway in the placement of the subwoofer.

On the same plane as the main speakers – whether on the floor or hanging, keeping the speaker on the same plane as the main speakers will help keep the signal in phase.

Wall-mounted – these subwoofers gain a boundary effect, so energy that would be directed to the back of the

In the corner

speaker will be reflected forwards and effect a small increase in level.

2-way corner – placing the subwoofer in a 2-way corner (against the wall and floor or the wall and ceiling) offers additional boost to the perceived levels of the speaker.

3-way corner – this can either be a wall, ceiling and other wall, or wall, floor and other wall, and can offer an additional boost to the level of the subwoofer.

What is the coverage pattern of the subwoofer? Once you have decided where you will place your speaker, then you can look at the pattern.

Remember that subwoofers tend to have a very broad area of coverage due to the long wavelengths. Generally speaking, selecting a very broad pattern suits most installations. If you need more selective coverage, there are line array choices that can give you better pattern control.

If you are not flying a subwoofer cabinet as a part of a line array or speaker cluster, try experimenting with the cabinet in different locations throughout the room. Room modes

Corner mount

KnowHOW

Against the wall are frequencies that will develop standing waves – spots in the room where the frequency will be either very audible (much louder) or inaudible (a dead spot). They are determined by the room dimensions as a function of the length, width and height of the room. The shape will also affect it.

By placing the speaker in different locations, you will notice a shift in the placement of those hot/dead spots.

Select the position that gives you the best possible pattern (dead spots in the main aisle, for example, instead of in the seating area). Different frequencies will have different room modes. Experiment before committing to a particular location. You may find the best location might also require some delay dialed in on the signal

processor to keep everything in phase. Keep the speaker, whenever possible, in the same vertical plane as the main speakers.

Remember that the human ear requires a much greater level of volume for bass frequencies than the higher registers. That is why the typical home 5.1 surround sound system can have excellent loudness with only 25W to each of the surround speakers but need 500W for the subwoofer.

For a house of worship, you will find the subwoofer requires much greater power than the remainder of your house system.

Sensitivity is the rating that indicates the level of volume your subwoofer will deliver at 1W (a higher number is more sensitive and can create

more sound). Every 3dB difference means changing the amplifier power by double or half. For every +3dB (better sensitivity), the amplifier can be half as powerful. For every –3dB (less sensitivity), the amplifier must be twice as powerful.

If you are buying a powered speaker, then the specifications will only include maximum levels since the amplifier is integrated and already matched up.

A self-powered subwoofer will have the amplifier built into the cabinet. The design engineers will have taken the time and calculations into their hands to deliver to you a matched system.

You don’t have to answer the hard questions – did I buy a large enough amplifier? Will it deliver enough level?

A passive enclosure will have only the speaker itself – you must specify and provide the amplifier.

Your speaker manufacturer can often provide you with guidance in selecting a good amplifier based on your installation and programme needs.

Remember, it is easier to burn out a speaker with an inadequate amplifier than it is with an amplifier that is rated for more than the speaker can handle.

It is better to err on the side of ‘too much’ rather than ‘too little’. ‘Just right’, of course, is always the best answer.

Enjoy your newfound deep bass response. A subwoofer is often one of the more economical improvements one can bring to a house of worship audio experience.

Just right

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KnowHOW

The TVU One can transmit high-quality video straight back to your tech team from in the field

Video on the go Worship AVL explores the different options open to HOWs wishing to take their media content outside of the church building AS PART OF A MODERN HOUSE of worship that has already shown an interest in enhancing services through the use of audio, video and lighting technology, there is a good chance your tech team already has the equipment and infrastructure in place for introducing multimedia content into the programme.

This is great – yet it can also be a potentially limiting factor when ministries are looking to further evolve their content offerings. Are you stuck in your ways? Perhaps your congregants have become accustomed to slick multimedia presentations produced on campus by your tech team. If you were to move outside your four walls, could you provide an adequate experience?

Video is everywhere now and houses of worship are increasingly seeking new ways to engage their followers with different types of content. For many, this means leaving the building behind and heading out into the world. This can be tricky for those used to working in a certain way.

Before investing in dedicated high-end portable video equipment, I encourage you to consider as many

can be handed back to whoever is responsible for producing the on-site weekly services. Some cameras and a way of storing the data are all that is required.

It’s probable that the cameras already in use at your campus have built-in recording functionality. In this case, providing they can also be battery powered, you’re good to go.

NewTek’s TriCaster Mini includes everything necessary for a high-quaity, professional production

Scenario 2 – shoot and send

possible scenarios that you will be shooting as possible. Remember that for in-field production, you will need to carry – or cart – all of your equipment with you, so the more equipment you have, or the larger and heavier the equipment is, the more work it will be to set up. This is especially true if you are shooting in multiple locations back-to-back. Here are several scenarios for shooting video on location, together with the type of equipment and infrastructure required to make it happen.

Remember, also, that high-end professional video equipment can be quite expensive. There are numerous products available on the market geared towards the

If you’re intending to broadcast or livestream the video content you capture directly from the field, you need to either have a way of mixing the footage to ‘produce’ the live stream on site, or a reliable means of transmitting the feeds back to your campus tech team, where a programme feed can be delivered onwards via your ministry’s traditional methods.

There are, of course, dedicated solutions to facilitate this; however, their scope and feature set likely extends far beyond your needs.

Examples include the TVU One or Deejero EnGo. These are portable transmitters that attach to the

42 WORSHIP AVL November–December 2018

prosumer or amateur videographer that work quite well. But, where possible, reusing any equipment you’ve already purchased for church use not only provides substantial cost-savings, but also should remove the need to spend additional time training staff and volunteers.

Scenario 1 – shoot to record The first thing to decide on is what you want to achieve, i.e. what type of content you will be looking to produce.

If it’s not live, then the technicalities are really very straightforward. The resulting postproduction after filming

KnowHOW camera out in the field, contain all of the necessary accessories and provide a reliable high-bandwidth connection for transmitting content back over a mobile data connection. The intended market for such solutions is really portable newsgathering, where video is required from remote locations with little notice and no infrastructure in place.

As such, these solutions are likely to provide a poor return in investment but, nevertheless, provide the maximum flexibility out in the field.

If shooting film on location factors heavily into your church’s future video production plans, these types of solutions are worth researching in more detail.

Scenario 3 – shoot and produce The final scenario is that all aspects of the video production are to be managed on site. While this means that a HOW’s existing cameras can be deployed in the field (providing they’re not being used back on campus), it will also require additional equipment to mix and produce the programme feed, such as a compact vision mixer

and streaming interface cost-effective approach for to send those feeds out one-off events is likely to to viewers. be to employ Of course, an external you could company also cart to handle your entire the video church production. setup out to Perhaps the site and you don’t create it in want to the same fashion take any of as you do back at your existing home. This might equipment The PTZOptics Producer Kit offers outside, but you be possible for an ‘in the box’ streaming solution an important also don’t want one-off event, but to invest in or certainly wouldn’t please your tech spend time researching lots of team on a regular basis. expensive new equipment and how The simpler a house of worship’s it interfaces together. There are a existing on-site video setup is, the number of ready-made, ‘in a box’ more likely that it can be broken type solutions that aim to take apart, moved and reassembled. the hassle out of creating simple Many a Worship AVL article has video setups in a new location. urged users to consider how they The PTZOptics Producer will use gear before they invest. It’s Kit is a great example. easy to assume bigger and more The kit contains multiple complicated means better – but not PTZ cameras, together with an Intel if you plan on moving that same NUC Skull Canyon, which handles setup to a new location. the stream and video production It’s also worth bearing in mind that tasks, a VISCA joystick controller transporting your valuable in-house for controlling the cameras and equipment around all over the place cutting between feeds, and a Shure leaves it vulnerable to accidents MVi-LTG audio convertor to convert and potential breakages. The more professional audio feeds to USB.

All that is needed are mounting points for the PTZ cameras and a surface such as a table for the joystick controller and operator.

The PTZOptics solution, like several others, also supports NewTek’s NDI protocol, meaning that anyone with a smartphone that has downloaded the NDI app can also become a camera source inside the PTZ system.

The resulting setup, with fixed camera positions, is not only easy to manage on site but should create a video production that matches up to your regular programming. Of

Compact cameras like Panasonic’s AG-UMR20 even have built-in recording capabilities course, a stable high-speed internet connection is always a must if you plan on streaming the event out directly.

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1/2 Vert November–December 2018 WORSHIP AVL 43

MAINTENANCE

Absolute polarity absolutely matters Key to the concept of absolute polarity is the desire to maintain as consistent a relationship with reality as possible within an audio equipment chain. Frank Wells explains TO UNDERSTAND ABSOLUTE polarity, let’s follow a path for amplifying an acoustic kick drum.

At the moment when a drummer stomps a drum pedal and the beater hits the drum head, the drum head pushes forward, compressing the air in front of the head. If the drum is miked, that air pressure will move the diaphragm of the microphone, producing an electrical signal inside the mic. Whether live or produced by playing back a recording, when that electrical signal is amplified and sent to a loudspeaker, it will move the speaker diaphragm (or cone) outward to, in turn, push air. At each stage and in each energy form in this path, from that initial moment when the drum head is hit and the drum head is moving forward, each outward movement and increase in energy has a positive polarity.

As the beater retreats from the drum head, the drum head begins to retract and create a vacuum that pulls air back towards itself (rarefication). At the end of the chain, the speaker diaphragm would also then begin to move backward – a negative polarity.

Speaker movement is illustrated in Figure 1. In the middle of the simplified diagram is a time vs. amplitude waveform view of a single kick drum hit. As the waveform moves positive, increasing in amplitude, the speaker would move forward, compressing the air in front of the speaker and pushing air towards listeners’ ears. After the peak of each forward motion, the speaker would begin moving backwards as the signal amplitude decreases, rarefying the air in front of the speaker and creating air motion away from listeners’ ears.

Absolute polarity in audio systems means that the polarity relationship between each form of energy in a signal chain is maintained through all changes in state, and when transitioning between devices.

Polarity of mechanical motion (the movement of our drum head and microphone diaphragm), of air motion/acoustic energy, of electrical

Galaxy Audio’s Cricket polarity test set

Figure 1 energy, of digital data (if working with a digital console or recorder), through to the mechanical movement of a speaker and the resulting air movement, should all be in sync.

With real-world instruments and voices, as with the drum waveform in Figure 1, the positive moving signal is asymmetrical with the negative moving signal. Human hearing is also asymmetrical – the mechanical operation of our inner ears works differently between equal levels of compression and rarefication.

Research, including blind testing, concludes that signals reaching the human ear in polarity with reality (the initial wave of the drum hit producing compression, not rarefication, as one example) produce a more accurate listening experience, including improved speech intelligibility.

Within an audio system, polarity can be inverted at any stage where gear is connected. While a pair of polarity inversions somewhere within a signal chain would let the chain perform correctly, it’s best to learn the behaviour of each link in a chain, and correct any connection anomalies, in case gear is later reconfigured.

Ensuring that a system maintains absolute polarity begins with the

44 WORSHIP AVL November–December 2018

installation. There is a standard for balanced single-channel analogue interconnections (XLR cables and ¼-inch jacks) and modern gear maintains these standards. With multichannel connections, pin-outs can vary, though there are some informal standards for hook-ups like 25-pin D-sub connectors used for eight balanced channels.

Polarity testing apps are available for smartphones, most easily used when running on a pair of phones or tablets. Better still, task-specific, 2-device polarity test sets provide a simple way to evaluate individual pieces of gear and systems. These battery-operated, hand-held sets consist of a send/transmit unit and a receiving unit. In the transmitter, continuous positive-only pulses (clicks or pops) are generated, and fed to a built-in speaker that can be held up to a microphone and to an output jack for direct connection to gear. On the other end of the chain or

at a device’s output, the receiver is connected through input jacks, or the unit’s internal microphone is held up to a speaker.

Typically, a green LED will light with positive polarity pulses and a red LED when detecting negative polarity pulses. The receiver’s microphone should be held as close to the speaker as feasible for accurate readings.

Careful consistency in maintaining wiring polarities should result in absolute polarity within a system.

That said, some hardware (typically older gear) may not comply with standards and sometimes simple mistakes are made in manufacturing, like shipping speakers with the internal connections to the components reversed. If system or device tests do indicate that something is amiss, at least the fix is easy, requiring a simple polarity reversal of the appropriate balanced pair of signal leads.

Absolute polarity errors invert signals 180°

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TECHNOLOGY

Flying safely There is risk involved in flying any technical equipment above a congregation, but thankfully there is also technology to ensure that this risk is as low as possible

Preparation

THE UNCOMFORTABLE TRUTH ABOUT a lot of the tasks houses of worship will often ask their volunteers to do, and a lot of the equipment used, is that there is an inherent level of risk involved. While most of this is low-

There is plenty of technology available to assist with both the rigging process and its safety. Indeed, some of the oldest pieces of staging equipment fall into this category.

However, no matter what technology

level, perhaps the most dangerous task is rigging. With this area, a lack of training or poorly maintained equipment can potentially have very serious consequences both for the volunteers and the wider congregation.

Rigging is defined as work carried out with the intent of temporary or permanent installation of suspended systems. This could be for flown loudspeakers, sets or projectors, but the area of equipment that it will

apply to most often is the lighting system.

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46 2018 52 WORSHIP AVL November–December September–October 2018

TECHNOLOGY a house of worship has at its disposal, the single most important thing is that the volunteer team has been trained to use it correctly.

There are multiple courses that a HOW can send its technical crew on for this and further guidance can be found from international associations such as Plasa and Etsa. The pair also recently collaborated to release the International Code of Practice for Entertainment Rigging (ICOPER) to give further insight into the subject.

The code was formed in response to a call for international guidelines in arena rigging, yet it is applicable to all event production rigging disciplines and is available as a free download from either organisation’s website.

In addition to this, a HOW should ensure it has a competent person either employed or contracted to inspect all rigging equipment on a regular basis. There should be a thorough inspection annually that should be recorded in writing.

And there should also be a basic visual inspection ahead of each use or application, again done by a competent person.

To ensure safe, long-term use, rigging equipment should be protected from environmental influences that could generate harm.

As such, it should be stored in dry places inside buildings and protected from ultraviolet radiation, aggressive fluids, heat and dirt. Houses of worship should also follow the directions in the supplier’s manual that comes with the equipment.

As with all things, preparation is key to safe rigging. You should do as much as possible to prepare the fixture on the ground as you can as this is a far safer environment than at height. When it comes to lighting systems, before you even think about flying them, there are a few factors to consider. Do the lights work? Have you used the correct fixtures in the right places? Have you used the right gels? Is there a safety cable attached? Is the clamp ready? If all of these things are considered, flying the lighting system itself becomes a very straightforward process.

New Destiny Christian Church has a lighting rig above the congregation to ensure the weight limits are appropriate. If a house of worship does not have rigging points, any

equipment should be flown from ground-supported structures such as genie towers. Due to the

nature of their use, these towers will be top-heavy. As such, the base of the tower extends out further than many people would expect. To counter this, the base is typically covered with black cloth to make it more presentable, while it also has the fringe benefit of stopping people from tripping over the legs. These towers should also have an engineering report stating the allowable height of the tower, allowable loads that can be suspended and any bracing required to ensure structural stability.

Rigging points are the foundation of any flown system. These should all have stated values for the safe working load and it is these that are used to form the basis of any rigging plot. It is very rare that you would choose to fly anything from just one rigging point so, in order to ensure safety for the crew and the congregation, the rigging supervisor should have an understanding of

1/2 ISLAND

Structural basics In terms of the rigging equipment itself, the most basic element is the rigging point. This is a designated position where a load is to be applied in order to safely impose the forces generated by the load onto the structure of a building (or other supporting structure). These are regulated and must be maintained by the venue

November–December 2018 WORSHIP AVL 47

TECHNOLOGY the mathematics that goes into safe rigging.

There are multiple textbooks available that go into detail on how to use this information to create rigging plots and the calculations that need to be done. There are different ways to calculate loads for static and moving equipment plus formulas to work out how to deal with factors such as cantilevers, resultant loads where the load path is not vertical and multi-point beam loads. There is not enough space in these pages to go into detail on these calculations, but textbooks and training should teach volunteers everything they need to know.

of the events industry, but manual chain blocks and wire rope winches are also commonplace. As with trussing, hoists come in a range of sizes and configurations from a variety of manufacturers and the type required will depend on the proposed use.

Electrically driven chain hoists should be controlled by ‘dead man’s hand’ switches. These are units that need constant pressure to make them operate. Where multiple chain hoists lift a single truss grid, their operation should be synchronised to a single control switch for a smooth lift, avoiding the need to ‘inch’ the hoists. The power supplies to the chain hoist control units should have a clearly marked emergency stop isolator and all power supplies should also have suitable earth leakage and overload protection.

Manual chain blocks are handdrawn chain hoists that comprise a load chain to take the weight and an endless hand chain to move it.

Wire rope winches, meanwhile, use sets of jaws to grip the rope as it is wound by hand to move the truss into place.

Rigging equipment Away from rigging points, the next most basic piece of equipment is the truss. Usually made from aluminium, this metal framing is a fairly standard piece of equipment used to fly all kinds of audio, video and lighting equipment. Available in all shapes and sizes and from a variety of manufacturers, the size of the truss you can use will depend on the space and, in part, the weight restrictions for the points.

While it may be seen by some as relatively trivial, the decisions

No truss is seen in the First United Methodist Church of Oak Ridge in Tennessee

MGA installs the lighting and sound rigs at Comunidad Apostólica Hosanna a house of worship makes about its trussing are vital to safety. The majority of harm done to crew and audiences at events comes as a result of truss failure. We have all heard the old adage ‘if you buy cheap, you buy twice’, but there are further implications to this with trussing.

It is important to know the weight rating of any trussing as this will mean you can make sure you have a run with the appropriate safe working load for the rig. When calculating the

total load, it is extremely important to remember it is not just the lights to consider. You also need to include the weight of things like chain hoists, motors, cables and distro packs, as these will all add weight to the truss.

When it comes to attaching lights to your truss, there are two vital pieces of equipment: the clamp and the safety cable. The clamp is the primary attachment and again there are a variety of styles and manufacturers, but it should have a few key elements. As

48 WORSHIP AVL November–December 2018

with the trussing, it should have documentation for the weight load it can carry and the standards it complies with. Scaffold clamps have a rounded clamp face that surrounds the pipe and holds it fast by friction due to a tightened bolt and nut system. The clamp needs to be tight to the lighting fixture, but open to be received easily by the pipe, so you don’t have to loosen the bolt to make the light fit on the pipe.

The safety cable should go through the yolk of the light and the pipe or truss that it is hung on. It has one simple job: to stop the light falling if the clamp fails. It should not be weight-bearing but equally it should not be loose; the idea is that, if it is called into action, the fixture should only drop a short distance before the safety takes its weight. As with the other equipment, a safety cable will have a stated safe working load and this should be complied with.

Taking flight With the lighting rig correctly attached to the truss and the load fully plotted out for safety, the next stage is to get it in the air. This is traditionally done with hoists.

Electric chain hoists are a staple

Lighting bars lowered for maintenace (photo courtesy of John Black)

Whatever your choice of hoist, there are numerous safe ways to attach a lifting appliance to a truss.

A lifting appliance must be attached at or as close as practical to a truss node (panel point). When slinging a truss, HOWs should consider the effect that the slinging method or rigging accessory will have on the stability of the truss and the internal forces that a slinging method will generate within the truss. Common slinging methods include a basket hitch, a bridle and a choke.

It is always worth remembering that rigging equipment can be dangerous to life if it fails or if people fail to use it in a proper way.

As such, any HOW should ensure it buys reliable equipment that is supplied with a proper manual and that the people who handle it are well-trained. Anything else is putting the safety of your congregation at risk.

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TECHNOLOGY

Abiding by the inverse square law James Cooke dusts off the physics textbooks to examine the inverse square law and what it means for sound DURING MY SCHOOLDAYS I performed adequately in the sciences, achieving respectable grades in biology, chemistry and physics, while doing rather well in mathematics. However, it was the humanities that piqued my interest and in which I saw my best exam results. As a result, I stopped studying physics, as well as the other scientific subjects as soon as I had the chance. There would be no higher education in these areas for me and, while this felt like a relief at the age of 16, today when I’m asked to explain a concept, such as the inverse square law, the person asking the question is met with a shrug.

So, what is the inverse square law and why is it important to know in regards to audio inside a house of worship? Let’s find out together.

In physics as a whole, the inverse square law tells us that the quantity, or the intensity, of a matter is ‘inversely proportional’ to the square of the distance from the matter’s source. If your head is spinning as much as mine is already, we could perhaps clear the waters a little by defining inverse proportions. Whereas a proportion in the regular sense – a direct proportion – sees two figures increase or decrease together while keeping to the same ratio, an inverse proportion takes two variables that are moving in opposite directions of value. What this means is that as one of the inverse variables increases, the other decreases.

As an example, if you were to drive your car at a constant speed of 30mph and reach your destination within 30 minutes, doubling your constant speed to 60mph would halve the journey duration to 15 minutes. The variables here are the speed of the car and the time taken to reach the destination. As the speed increases, the duration proportionally decreases. This is inverse proportion.

Having affirmed an understanding of what an inverse proportion is, we

Figure 1 move back to the inverse square law. Figure 1 provides an illustration of what is meant by the quantity being inversely proportional to the square of the distance from the matter’s source when discussing the inverse square law in physics.

What it shows us is that as the matter leaves its source, it spreads to cover a larger area the further it travels, yet intensity is lost in proportional measure. The red lines represent intensity of the flux (the flow of matter; nothing to do with DeLorean time travel) and as you can see, those lines are spread thinner the further the distance from the source the matter gets.

Whereas we started with nine lines passing through the sur face of a single square at 1U (one unit of measurement), at 3U the sur face has increased to nine squares with only one line to pass through each. As the distance increases further, past what we can see here, there will be squares without lines passing through, meaning the flux has spread too far and dissipates.

Hopefully I’ve painted a reasonable image of what the

50 WORSHIP AVL November–December 2018

inverse square law is, but it can be further illustrated by the following equation:

And finally, it can also be expressed as the formulation of a constant quantity:

in the air. The source is where the sound begins, whether it’s from a musical instrument or the lips of a choir singer, or even the recreated audio pumping out of a loudspeaker.

As the sound waves are emitted from their source, the sound pressure decreases by 6dB as the distance doubles. The distance and sound pressure are variables and they are inverse to each other, as the steady decline of 6dB does not follow the same ratio of a distance that multiplies by two. This means that as you move further away from the sound source, the more noticeable the dB-diminishment will become as the percentage ratio of the 6dB increases. Take a loudspeaker as an example and

Sir Isaac Newton’s law of universal gravitation follows the inverse square law, as do the effects of electricity, magnetism, light and radiation.

So, how does this apply to sound?

Sound is the result of vibrations

say it’s emitting audio at 100dB at a distance of 1m. At a distance of 2m (a 100% increase), the drop in sound pressure level (SPL) will be 6dB, which is a 6% drop. At the 3m mark, we have travelled the same distance once again, adding another

In addition, the inverse square law can also be mathematically written as:

TECHNOLOGY 100% of the original 1m, yet the decibel decrease hasn’t matched the original 6dB. Instead, starting at the 2m mark, we drop a further 6dB at the 4m mark, having once again doubled the distance from the source. This time, the 6dB drop, from 94dB to 88dB, is a 6.38% drop. By the time we’ve reached 256m, the 6dB decibel depletion will represent an 11.5% drop from 52dB to 46dB, which will be far more noticeable to the ear as a larger percentage of the sound than the initial 6%. Get far enough away, and the sound no longer reaches you.

While this follows the inverse square law, the sound waves themselves propagate spherically, although the same principle applies, or course, as demonstrated in Figure 2.

And why do you as a house of worship audio technician need to know about this law? Firstly, it helps to know how decibels decrease with distance in regards to setting up loudspeakers. Will those seated at the rear of the sanctuary be able to hear these speakers? Using the inverse square theory, you’ll be able to work that out.

Measurements and equations may not be entirely accurate though, as the rule of sound decreasing

inverse square law in an average 10m2 room at approximately 3m to 3.5m from the sound source.

However, while this is the case, the basic rule still applies in that SPLs will decrease the further away you get from the sound source. If, for example, a preacher was speaking without loudspeaker reinforcement, their voice would typically reach 1m at a level of 65dB, which would then drop to around 59dB at 2m, then 53dB at 4m, and so on.

While my pursuit of the humanities in school led me to study English and media, which in turn brought me to Worship AVL and influenced the play on words used in the title of this ar ticle, science dictates that there is no choice but to abide by the inverse square law. Sound may get blocked by obstacles in its path, but the law won’t be broken.

u 2u

3u

4u

Figure 2 by 6dB with each doubling of distance only fully applies under ‘ideal conditions’ in a free field. A free field for sound waves to travel across means no obstacles and, as we know, houses of worship are full of pews and pillars and people. Not to mention those highly reverberant hard walls, floor and ceilings. These surroundings will meddle with the

Pillars and pews provide obstacles at St John’s Cathedral in Brisbane

1/2PAGE HORIZONTAL

November–December 2018 WORSHIP AVL 51

TECHNOLOGY

The future of A/V networking With several new developments from the sector’s key players, it’s time to revisit the state of A/V networking UNTIL RECENTLY, THE WORLDS OF audio and video have remained almost completely separate when it comes to networking. For many users this has never been an issue.

Tech teams are frequently divided along similar lines and manage just those systems relevant to them. But there are also many advantages to a complete A/V networking solution and, with recent increases in bandwidth, the landscape is changing.

It’s been a few years since Audinate first pitted itself as a viable-future alternative to the Audio Video Bridging (AVB) standard that was being worked on at the time by the Avnu Alliance. Of course, not many would refute that, in the years since, Dante has been overwhelmingly adopted and has become the de-facto standard for simple audio networking.

Regardless of the protocol, audio over IP is a tool already in widespread use at many houses of worship. Video over IP isn’t quite as developed. However, it’s now 2018 and the vast majority of consumers certainly don’t treat audio as a separate entity to video. For entertainment purposes they are one and the same. And while there are technical benefits in certain situations for integrators to break the audio feeds out from the video, should this have to be the case?

The video sector still has some catching up to do. The relatively low bandwidth needed to effectively transmit audio signals over IP is a major reason why that specific method is already in such widespread use. Video, with significantly higher bandwidth, is much more demanding, and the hardware necessary to support this is not yet readily available at a cost-effective price.

However, various different protocols have been released over the past few years to support video over IP, yet many of them have been proprietary manufacturer-owned solutions meant for interfacing their own products.

‘We know and understand that customers want to manage their

video streams on the network alongside their audio, with simplicity being the main benefit,’ says Joshua Rush, SVP of marketing and product development at Audinate. ‘In many installations, audio and video are inherently linked and customers want to manage them together.’

Jeff Rocha, L-Acoustics

Joshua Rush, Audinate This year’s InfoComm exhibition in Las Vegas saw a new integrated A/V networking landscape beginning to emerge. The Avnu Alliance has been quietly working for several years on the next phase of AVB implementation, culminating with a presentation by audio heavyweights d&b, L-Acoustics, Meyer Sound, Avid, Biamp and Audioscience at the show. This next-stage protocol has been named Milan and, while audio networking was very much the focus of the InfoComm presentation, the AVB standard doesn’t make this distinction.

At the same time, Audinate muddied the waters by announcing a partnership with the SDVoE (Software Defined Video over Ethernet) Alliance for an integrated A/V control platform.

Essentially, one is an open-standards approach to complete control and networking, while the other is proprietary. What does this mean for the future of networking?

52 WORSHIP AVL November–December 2018

‘The SDVoE Alliance is one of the leading industry groups helping to deliver a standardised way for the transportation and management of video streams over IP. It is a lot like Dante in that it has over 40 member companies that focus on adoption and interoperability,’ explains Mr Rush.

‘The SDVoE solution delivers a 4K60 video solution with near zero latency over a 10G infrastructure.’

The two organisations chose to showcase an integrated control experience through Dante Controller, routing SDVoE video streams and Dante audio streams through the same interface at InfoComm. This was accomplished by updating Dante Controller to read the SDVoE API and displaying those video channels in the software.

‘While this new version of Dante Controller does not have a timeframe for public launch, it is a first step towards providing an integrated control experience for both audio and video over IP,’ explains the Audinate product manager. ‘We are currently discussing ways the two technologies can be more tightly integrated to provide an even better experience for both OEMs building products, and

integrators and customers using the products together.’

The Milan protocol being developed by members of the Avnu Alliance is a little more technical. d&b audiotechnik’s head of market research, Henning Kaltheuner, explained it in simple terms to Worship AVL: ‘Milan is about creating a solution application layer on top of AVB technology,’ he says.

‘The target of this is that all these manufacturers have realised they want to use open standards solutions for A/V networking and want to be able to build open solutions network ports into their products, in order to guarantee the best longevity and best compatibility of their systems.

‘Milan, on the one hand, is a set of standards that is available publicly,’ Mr Kaltheuner continues. ‘On the other hand, it’s also the idea that manufacturers form a community and collaboratively work together on networking. We believe that networking products in the future should be a commodity and something that we share, just as we share XLR connectors for analogue signals.

That’s our hope for the future of networking – that we should work together on creating the best solutions for the industry.’

TECHNOLOGY NEWS

Ion Xe

Henning Kaltheuner, d&b

‘A network should be a commodity that simply works,’ continues L-Acoustics’ Jeff Rocha, director of product management. ‘Our customers should know that they can plug things together and they’ll work, so they don’t have to focus on being IT professionals and can instead focus on audio.’

But neither solutions are ready to market yet and, in the case of Milan, this has been traditionally one of the biggest obstacles to AVB adoption. To ensure interoperability, the Alliance certifies that each product has properly implemented its guidelines. In the past, this has not been a quick process.

‘A lot of the hard work with Milan is done,’ shares Mr Rocha. ‘There are really four different standards that have to be developed before we have a fully functioning protocol – to define things for stream formats, media clocking, redundancy and software control. The first two (defining stream formats and media clocking) are already done and public. The third, the redundancy spec, will be released very shortly, and our control spec is near completion. The thing that then remains is to further refine the certification process through Avnu. There’s a lot of energy and

effort being spent on that to make sure we follow up on the technology announcement.’

This is not a hurdle the propriety method has to overcome. Audinate has been very proactive with its certification in the past, with hundreds of manufacturers’ products having been certified in the last few years alone. For Audinate, the partnership with the SDVoE Alliance is part of something bigger.

‘We think the SDVoE partnership is the first of several important partnerships in the video over IP space,’ states Mr Rush. ‘While the SDVoE Alliance is clearly the market leader in the 10G space, there are a number of applications for 1G solutions in the installed market.

Ultimately, we would like to integrate Dante with several video over IP solutions so we can offer that same unified control and management experience, regardless of the market or application.

‘We are also looking to expand the software and services that sit on top of the Dante platform. Dante Domain Manager is a great example of this.

By continuing to invest in these products that enhance the Dante platform, it makes Dante much more than just a networking protocol – it’s a complete, end-to-end solution for A/V networking.’

So while the future of audio networking is not quite upon us, the industry has both open and propriety solutions poised for release. Are we really close to the point where an entire house of worship’s technical infrastructure can be cabled via a single connector and managed in unison?

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November–December May–June2018 2018WORSHIP WORSHIPAVL AVL 53 9 September–October 15

BUYING GUIDE

Portable K-array Pinacle speakers were used when the head of the Russian Church visited the Cathedral of Starocherkasskaya

Anchor Audio’s Beacon 2

Portable loudspeakers There’s more to portable loudspeakers than just whether you can pick them up. Simon Luckhurst asks the experts what to prioritise PERMANENT FIXED INSTALLATION of loudspeaker systems in a house of worship should rarely be performed by the facility’s personnel on their own, and those same staffers should also rarely make the final system selection by themselves. The old adage is that a house of worship typically buys three systems – one they select themselves, one where they work with a retailer to try and fix what they bought and, finally, the one they buy in consultation with, and installed by, an experienced A/V contractor. Thankfully, however, when it comes to selecting portable loudspeakers, where no fixed installation is necessary, the stakes are a little lower and the equipment will likely serve a number of uses throughout its lifetime.

Loudspeakers used by portable pop-up style ministries present some more options with a lot less risk.

It’s understandable that a worship tech would be weighing up different portable speaker options without

The PreSonus AIR12 asking for outside help. But how can you make sure you are spending your donations on the right piece of equipment?

There’s never been a greater number of portable and professional solutions on the market, and

54 WORSHIP AVL November–December 2018

so Worship AVL approached several manufacturers of portable loudspeaker systems to find out where the priorities should lie.

‘In order for a speaker to be truly portable, it needs to be easily moveable, meaning that it is not installed or hardwired into a structure,’ offers Bethany Dineen, director of marketing at Anchor Audio.

‘A battery powered unit that does not require a grounded power source is the true test of its portability. To Anchor Audio, portable means that you can take it anywhere and not be constrained by the need for a power source and running cables long distances.’

‘Portable loudspeakers are generally able to be carried easily by one or two people and usually have handles to assist with that,’ explains PreSonus documentation manager, Wesley Elianna Smith. ‘Today, there are both portable point source and line array options but the bottom line is that if a loudspeaker is designed to be quickly

deployed, whether flown on a truss or mounted on a tripod speaker stand, it can be defined as “portable”.’

But while it might seem preferential to focus on attributes that make portable loudspeakers portable, K-array’s audio and software specialist, Alberto Gaetti, thinks the focus should be on sound first and ease-of use-second. ‘Sound quality should be the first indisputable requirement; a cool system with poor sound will create a bad experience,’ he explains. ‘On the other hand, today no one would provide audio for a small temporary event with cumbersome loudspeakers and racks that are difficult to transport and set up. That said, lightweight, easy handling and few components to assemble and configure are a must for portable systems as they allow you to concentrate on the show rather than your backache.’

Anchor Audio’s director of manufacturing, Cy Bates, agrees in principal yet, like many things,

BUYING GUIDE there is a trade-off. ‘Sound quality is almost always most important, but the difference between great sound quality and good sound quality is sometimes minor, and most people can’t perceive it. Whereas, the difference between a heavy cabinet that is difficult to set up is easier to differentiate from a lighter system.’

Ms Smith thinks that with the wealth of options on the market today, customers can have their cake and eat it. ‘One does not necessarily preclude the other,’ she says.

‘With today’s lightweight Class-D amplification and innovative cabinet designs, great sound quality and light weight are no longer mutually exclusive.’

It’s fairly obvious that if a speaker is light, has handles and a portable power source, it can be moved and set up just about anywhere space permits. But, in terms of audio attributes, there are some common technical terms to familiarise yourself with. ‘Frequency response, maximum SPL, dispersion and nominal coverage are all-important terms to understand before going shopping for a new loudspeaker,’ asserts Ms Smith. ‘To assist our customers and anyone in the market for a new loudspeaker system, PreSonus has put together a “getting started” guide, which can be found on our website. This guide provides definitions for common loudspeaker terms and offers tips on what to listen for when selecting your next loudspeaker system.’

Breaking these terms down, Mr Bates explains that ‘SPL or crowd size coverage will let you know if the system you are getting is sufficient for your needs. Understanding the frequency response allows customers to understand what application is best for the customer’s needs – voice versus music.’

AS YOU WISH

K-array’s Pinacle KR202 The cabinets you’re considering are portable and can be moved around at your whim, and the sound is ticking all of the boxes in terms of loudness, coverage and audio quality. Job done? Not quite. There are many other attributes to consider depending on your environment and situation that might make one solution more suitable than another.

‘A portable system should be versatile with built-in DSP and presets to allow for both open-air and closed environments,’ shares Mr Gaetti. ‘It should also have easy connection capabilities, with balanced and unbalanced line and microphone inputs, direct-out connectors for linking multiple systems and a local recording device like our Pinacle portable systems.’

Needless to say the list is endless, and to list all of the different variables available would fill this magazine. One last

primary consideration is whether the cabinets will be active (selfpowered) or passive (require external amplification).

‘Having an active speaker allows you to not rely on as much external equipment when setting up for events,’ comments Nick Craig, director of sales at Anchor Audio.

‘This makes life easier on the person setting up and less expensive when initially buying your system. The benefit of a passive speaker is the customer can customise their setup a bit more, so if at any point they would like to upgrade their amplifier, they can easily do so.’

Ms Smith adds: ‘Whether onboard amplification or remote amplification better suits your needs entirely depends upon your budget and application. In general, however, for portable applications, active solutions are easier to use and provide more options.’

As an example of the varieties on offer, PreSonus sells two lines of portable loudspeakers that differ in their output specs: the AIR series and the ULT series. Full-range models in both series come in 10-, 12- and 15-inch configurations, while the AIR series offers two subwoofers, 15- or 18-inch, and the ULT series offers one, the 18-inch ULT18.

‘For intimate, mobile church applications on a budget, the AIR series will provide great speech intelligibility and a natural sound,’ explains Ms Smith. ‘For more modern services that require higher output, the ULT series will provide optimal coverage and a more powerful lowfrequency response.’

Anchor Audio also chooses to differentiate sound systems by ‘loudness’, with different models varying in crowd coverage, wattage,

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SPL and frequency response. ‘All of our units offer standard inputs and outputs, built-in Bluetooth, built-in lithium ion batteries that operate six to eight hours on a full charge and the ability to connect up to four wireless microphones that operate on the 1.9GHz wireless frequency,’ says Ms Dineen. ‘Customers have the option to include Anchor AIR, which allows them to connect multiple speakers wirelessly or allows a house of worship to connect assistive listening devices for those in the congregation that are hard of hearing.

The solutions I would recommend for a house of worship are the Liberty and Beacon. Both are completely wireless, versatile, portable and, most importantly for HOWs, easy to use.’

As you can see, there is more to consider than just how transportable a portable speaker is. Set your sights on a system from an audio perspective and work back through additional features that may or may not prove worthwhile to your needs.

As always, if in doubt, ask the experts. www.anchoraudio.com www.k-array.com www.presonus.com

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November–December 2018 WORSHIP AVL 55

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Allen & Heath’s SQ range reaches the lucky number The SQ-7 is the new 33-fader flagship console in Allen & Heath’s 96kHz SQ series THE SQ-7 from Allen & Heath takes the same XCVI 96kHz FPGA engine found in its predecessors, the SQ-5 and SQ-6, while offering extended control and I/O with 33 faders, 32 onboard preamps, 16 custom soft keys and eight user-definable soft rotary controls. The new 48-channel console is fully compatible with a variety of remote I/O expanders, including the portable DX168 96kHz stageboxes.

Inputs and mixes can be individually assigned to the SQ-7’s 192 fader strips across six layers, while soft keys and rotary controls allow for workflow customisation.

The scope for system integration and expansion, as well as FOH/ monitor splits and recording, is further increased with the addition of Dante, Waves and SLink audio networking cards. Optional DEEP processing plug-ins, meanwhile, provide access to compressor and preamp emulations that can be embedded directly within all input and mix channels without adding system latency.

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56 WORSHIP AVL November–December 2018

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66

Ross Video

UX 4.0

66

Rushworks

A-List Streamster

65

Sennheiser

Essential series/ew 500-p system

58

Solid State Logic L100/Remote Tile V4.7/Native v6

57

Sony

69

BRC-X1000/BRC-H800

Tasker

Fluo series (T33 and T32)

61

TVU Networks

TVU Producer Pro

66

Vaddio

RoboShot IW

69

Williams AV

Digi-Wave Intercom Bridge

61

Yamaha

CXS-XLF and CZR series

60

and-play, Core Audio or ASIO compliant 32x32 audio inter face with MIDI and DAW control capabilities. A pair of independent, assignable automatic mic mixers can be combined as a single, 48-channel automatic mic mixer. The SQ-7 is also supported by an array of remote I/O expanders, audio networking cards and ME personal mixers, as well as mixing and personal monitoring apps.

Speaking of apps, the Audiotonix brand has also launched the SQ4You app for Android and iOS. Up to eight phones or tablets can be connected at the same time, offering level controls over four groups, a master level and mute.

Each group provides more in-depth control, such as individual channel metering, send levels and stereo pan.

Finally, Allen & Heath is now shipping its Dante card for the SQ series. Any SQ mixer fitted with the SQ Dante card can connect to 96kHz amplifiers, inter faces and

Dante card for SQ other devices on a Dante network, without sample rate conversion or added latency. In addition to facilitating systems integration, the new card enables digital splits and multitrack recording direct to a computer. The card can also be switched to 48kHz to accommodate existing Dante networks and is Dante Domain Manager ready. www.allen-heath.com

PRODUCTS

Crest unveils its system credentials

L100

SSL squeezes in tight spaces THE L100 is the newest member of the SSL Live console range.

Designed for restricted spaces, the L100 provides a compact 12+2 fader configuration frame as well as the same high headroom, low latency SSL Tempest Audio Engine as the other SSL Live consoles. Users who require more faders can expand the L100 with the addition of SSL’s Remote Tile.

Other features include a 17-inch multi-gesture touchscreen that provides access to all of the consoles’ functions and an integrated tablet device that combines with SSL’s TaCo tablet control application functionality to offer an additional control interface for channel or effects rack processing.

The Master Tile also provides mute group, solo/talkback, assignable keys and automation controls. The L100 includes 96 fully processed paths and can be configured with up to 64 input channels, 36 aux sends, 12 stem groups, 12 VCAs and four masters. An additional 4x32-input/12-output matrix is also available.

Staying with Remote Tile, V4.7 software includes an upgrade to SSL’s Super Query workflow, enhanced TaCo features, a new Transfer Function Analyser Tool and Auto Pan effect, and support for external touchscreen control. Users can now have direct touchscreen control of their overview and automation screens without having to switch focus on the console’s internal touchscreen.

Lastly, SSL has released Native v6 which will replace the company’s Duende Native plug-in collection.

Improvements include higherresolution interfaces, improved preset management, expanded purchase options and framework changes.

The complete SSL Native v6 bundle includes Channelstrip, Vocalstrip, Drumstrip, Bus Compressor, X-Phase, X-EQ, X-Comp, X-ValveComp and X-Saturator, and is available in AAX, VST3/VST 2 and AU formats. www.solidstatelogic.com

HAVING DISTINGUISHED itself as an innovator of mixing consoles and amplification technology, Crest Audio has extended its reach into loudspeaker manufacture with the development of a new powered line array. Comprising the Versarray Pro VR112 line array element and the VR-Pro 215 sub, Versarray Pro is designed for mid-sized line array applications. While the high-frequency section of the VR112 is equipped with Mark III ribbon drivers matched to a Clear Form Waveguide, the low end is served by a Black Widow neodymium 12-inch woofer with dual 4-inch voice coils.

While adjustable rigging comes in the form of an integrated rear 3-pin system, the incorporation of FlyQWIK hardware ensures that the system can be quickly and accurately deployed. In addition, Auto-Hang DSP technology provides 1-push button control for simple adjustment according to the number of cabinets in the array and speaker positioning.

As an active system with onboard DSP processing, parameters can either be accessed from the rear panel or remotely via the dedicated Window-based software utility.

Furthermore, connection via a single Cat-5 or Cat-6 cable provides Dante audio network control.

Following on from the launch of the Tactus digital mixing system, Crest has now developed Tactus.

Versarray Pro Control as a physical mixing interface. Developed in conjunction with Waves, the Tactus system comprises the Tactus.FOH audio processing core, the Tactus.Stage 32-in/16-out remote stagebox and a Tactus.Control tactile motorised fader board serving as a physical extension of the Waves eMotion LV1 touchscreen mixer. Equipped with 16 motorised input faders, two masters and other control options, up to two control surfaces can be connected via USB to a Windows PC or Mac running the Waves eMotion LV1 mixer application. www.peaveycommercialaudio.com

Full power, compact size ELECTRO-VOICE HAS debuted a new 5-member family of loudspeakers for installation in small- and medium-sized venues.

The EVC series includes three (8-inch, 12-inch and 15-inch) 2-way trapezoidal models that can be used in a wide variety of applications where wide bandwidth, vertical and horizontal directivity control and high efficiency are required in a small enclosure package. Two coverage patterns are available for each size, while their waveguides are rotatable.

The 12-inch speaker also has a Variable Intensity (EVC-1122/VI) model that includes a 12-inch, 2-way design with a unique compound waveguide. The manufacturer describes this as being able to ‘evenly cover a defined rectangular audience area with almost no

The EVC family

variation in sound quality and minimal change in level’. An 18-inch subwoofer completes the line-up for use with any of the full-range systems.

While all five cabinets are covered with EV’s ‘super-durable’ EV Coat in either black or white, weatherresistant PI versions are also

available that have stainless steel grilles, hydrophobic cloth and a dual gland nut cover for the input panel.

Installation is via the multiple M10 suspension points or attachment points for an optional U-bracket or OmniMount-style pan/tilt wall mount.

For 70V/100V operation, the input panel has an internal landing pad for

mounting the manufacturer’s TK150 audio transformer which, when installed, engages EV’s Automatic Saturation Compensation (ASC) and aims to preserve low-frequency performance while presenting a stable load to the amplifier. www.electrovoice.com

November–December 2018 WORSHIP AVL 57

PRODUCTS

Audix presets added to Qu AUDIX AND Allen & Heath have collaborated to add a range of presets for the mic manufacturer’s products to the Qu series of mixing consoles.

The new ProFactory mic presets cover a range of Audix models, including the SCX25A condenser vocal microphone, the D2, D4, D6 and i5 dynamic instrument microphones and the OM series of dynamic vocal microphones.

Engineers from both companies worked closely to ensure that the settings were optimised for each mic paired with Qu’s AnalogiQ Preamps.

The presets are available as a free

Sennheiser bridges a gap

Audix’s SCX25A

SENNHEISER HAS dubbed its new range of headset and lavalier microphones as Essential. The series is designed to bridge the gap between the manufacturer’s high-end solutions and the microphones that come with its evolution wireless series. The Essential microphones all connect to bodypack transmitters with either a 3-pin or 3.5mm jack.

styles, such as concealing the microphone along the user’s hairline or for use as a lapel microphone.

Sennheiser has also expanded its evolution wireless series with the ew 500-p, which is designed primarily for ENG and film work. The system is formed of the ew 512-p G4 Pro Portable lavalier mic set, complete with camera receiver,

download from the Qu series product pages on the A&H website. www.allen-heath.com www.audixusa.com

DiGiCo adds auto mic mixing to S-Series AUTOMATIC MICROPHONE The S-series consoles themselves mixing capability has come to have also been given an update to DiGiCo’s S-Series consoles with the accommodate the AMM functionality. release of the new DMI-AMM card, V2.2 software gives users access which allows up to 48 channels to Rack Receive only mode, which of automatic mic mixing on any prevents the I/O rack’s input socket S-Series console. Insertable on any gain from changing on the surface input channel, if it is adjusted local or rack locally; I/O, the DMISnapshot fader AMM assists crossfades, with multiple which for all spoken Input, Matrix voices and and CG is ‘seamlessly’ faders, fader crossfade incorporated into times can be applied the console’s per channel and per user interface Snapshot; Control Group for a continuous Spill, where up to 10 preworkflow. The defined members The DMI-AMM automatic system works of a Control mic mixing card by automatically Group can be managing multiple live microphones spilled to any console section using in unpredictable dialogue situations. a single button function; and OSC When one person speaks, that Control of Snapshots, so that OSC microphone’s gain level fades messages can be transmitted from up instantly, while the other the console when a Snapshot is fired, microphone’s gains are reduced. or a Snapshot can be fired when an When the speaker pauses, all incoming OSC message is received. microphone levels will adjust to Finally, following the launch of medium gain to collectively match the DiGiCo 32-bit John Stadius mic the level of one microphone at full preamp, the British manufacturer gain. The resulting effect is as if all has accompanied it with a new speakers are sharing one mic.

‘Stadius’ DA converter, a 32-bit DAC There are two independent AMMs that promises dedicated analogue, implemented by the DMI-AMM, ultra-low noise linear power supplies, known as AMM-A and AMM-B, 104μs conversion time, a –100dBA with channels assigned to either noise floor, a dynamic range of A or B, or neither. This means 122dBA, a 20kHz to 44.5kHz that two separate events can run ±0.15dB frequency response and a simultaneously on the same console fully shielded analogue stage. without one interfering with the www.digico.biz other.

58 WORSHIP AVL November–December 2018

The ew 512-p G4 MKE 2 ‘As its name suggests, the Essential range brings the accepted core acoustics of the HSP 2 and MKE 2 to a new audience at an attractive price,’ said Jannik Schentek, product manager at Sennheiser.

The HSP Essential Omni is the first ‘essential’. It features an omnidirectional capsule and an adjustable stainless steel headband. It is available in black or beige, with the choice between a 3.5mm jack connector for use with Sennheiser’s XS Wireless and evolution wireless, or a 3-pin connector for the company’s wireless series, from the 2000 to Digital 9000. It also includes a 1.3m cable and a pop windshield.

The other ‘essential’ is the MKE Essential Omni. Also available in black and beige, and available with a 3-pin or 3.5mm jack connector, this omnidirectional lavalier microphone is boxed with a crocodile clip and a pop windshield.

However, it can also be used with the MKE 2 range of mounting accessories. The 1.6m cable is intended to accommodate different wearing

bodypack transmitter, MKE 2 lavalier mic and accessories; the ew 500 Boom G4 Pro Portable boom set, including camera receiver, phantom powered plug-on transmitter and other accessories; and the ew 500 Film G4 Combo set, which comes with both bodypack and plug-on transmitters, MKE 2 lavalier mic and camera receiver, among other accessories. www.sennheiser.com

HSP Essential Omni

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PRODUCTS

New flagship point source from HK HK AUDIO’S newest line of flagship point source speakers is seeking to push the performance boundaries of compact cabinets by employing high-performance woofers claiming to offer an ‘impressive’ bass response. The Contour X series includes the 8-inch CX 8, 12-inch

CX 12 and 15-inch CX 15, offering 1,200W, 2,000W and 2,4000W of peak power handling, respectively.

The CX 8 also promises a frequency response from 76Hz to 19kHz, which extends at the low end down to 79Hz for the CX 15. The cabinets have been engineered for life on the

road and, as such, include a hardwearing PU exterior finish and a solid birch multiplex construction.

Additional features include rotatable horns, four NL4 speakON ports with Pin Assignment switches, two different monitor angles, and various rigging and mounting options. Ready-to-go tuning is described as another ‘no-muss, nofuss’ time-saving feature.

HK Audio’s Contour X family

www.hkaudio.com

Far from the end of D-Line for RCF INSPIRED DIRECTLY by the pedigree of its portable and TT+ touring products, RCF has created three new speaker systems as part of the manufacturer’s D-Line HD composite series. Both the HD 15-A and HD 35-A models incorporate 15-inch LF woofers with HF compression drivers

HD 15-A

together with Class-D amplifiers delivering 700W and 1,000W RMS power, respectively. Combining a 15inch neodymium woofer with a 4-inch voice coil neodymium compression driver, the HDP 45-A point source speaker is capable of producing an SPL of 133dB. Further equipped with the same 1,100W RMS amplifier that is integrated within the TT 25-A, the HDP 45-A can also be connected to the RDNet network management.

DSP parameters for all three models include crossover, equalisation, FiRPHASE processing, soft limiting and speaker protection.

In addition, the Italian manufacturer has also unveiled the E Max series of 2-way speakers for delivering foreground audio in nearfield or short-throw applications. Equipped

deliver a maximum SPL of 129dB over a frequency range of 55Hz to 20kHz with a total power handling of 350W. Both models are equipped with 90° x 70° rotatable horns and are housed in birch plywood cabinets coated with black textured epoxy. www.rcf.it

HDP 45-A with a 10-inch woofer and 1-inch compression driver, the E Max 3110 is a 300W-rated speaker capable of delivering 128dB maximum SPL within a 60Hz to 20kHz frequency range.

The 12-inch E Max 3112 speaker can E Max 3110

Yamaha goes low YAMAHA HAS created two new series of loudspeakers designed for both live performance and installed environments.

The CXS-XLF series can extend down to 29Hz. Comprising the CXS18-XLF (18-inch) and CXS15XLF (15-inch) units (which have respective peak SPLs of 133dB and 131dB), multiple CXS-XLF subwoofers can be used in cardioid mode for enhanced rear bass rejection and front projection, provided the processor has the

CXS18-XLF

necessary dedicated DSP settings.

They both include a 35mm pole socket and an M20 threaded socket to support a full-range cabinet.

The CZR series features three 2-way models: the CZR15 (15-inch cone), CZR12 (12-inch cone) and CZR10 (10-inch cone). All models incorporate transducers with die-cast aluminium frames and a 3-inch voice coil, combined with a neodymium magnet to add punch to the bass frequencies. They also feature a rotatable constant directivity horn design (50° for the CZR15; 90° x 60° for the CZR12 and CZR10) to offer flexibility for horizontal or vertical mounting.

In passive mode, the CZR15 and CZR12 have a power rating of 800W, with a peak SPL of 129dB and 128dB, respectively. The CZR10 has a power rating of 700W, with a peak SPL of 126dB. Launched alongside the new VXL116P, the SWR2311P-10G is an L2 switch that allows Dante settings to

60 WORSHIP AVL November–December 2018

Finally, the manufacturer has added two audio interface cards for the Rivage PM digital mixing system: the HY144-D-SRC and the HY128-MD. The former supports 144 inputs and 144 outputs via Dante audio networking. It provides onboard sample rate conversion for when devices running at different sample rates need to

CZR15 be made on the VXL1-16P via LLDP, which passes system management data between neighbouring devices.

Featuring eight PoE-compliant LAN ports and two combo LAN/SFP ports, the SWR2311P-10G can supply a maximum of 30W PoE for all ports simultaneously. An optional RK-SWR rackmount accessory can be used to install the SWR2311P10G in a 19-inch rack, while the WK-SWR wall mount accessory can be used to mount the unit on a wall, ceiling or other surface.

HY144-D-SRC be interconnected. The latter is a 128-in/128-out card that supports the MADI audio protocol. It can be used to convert the output of a Rivage PM10 system to MADI, for transmission to an OB truck or to connect to a MADI-based mixing console. www.yamahaproaudio.com

PRODUCTS

A handheld addition to the 6000 Series AUDIO-TECHNICA HAS added the ATW-T6002x handheld transmitter to its 6000 Series high-density wireless system. It allows users to run up to 31 channels within 4MHz of bandwidth.

The ATW-T6002x transmitter is said to offer ‘extremely low handling noise’ while featuring a body of metal construction, an OLED screen for high visibility, soft-touch controls and switchable RF power.

Its thread mount enables the use of six interchangeable Audio-Technica microphone capsules, as well as other compatible capsules.

In other news, the ATH-M60x on-ear professional monitor headphones are the latest addition to AudioTechnica’s M-Series. They feature the same 45mm large-aperture drivers found in the ATH-M50x to deliver an extended frequency range with accurate bass response.

With a low-profile, closed-back, on-ear design as well as memory foam earpads and headband, the ATH-M60x comes with three interchangeable cables: 1.2m to

BOSE PROFESSIONAL has added two ControlSpace CSP audio processors together with three new digital wall controllers.

The CSP-1248 and CSP-428 incorporate balanced inputs and outputs, RCA inputs, eight GPIs, one GPO, a mute contact, RS-232 serial, Ethernet network for configuration or wall control and Bose AmpLink out for digital audio connectivity to supported power amplifiers. The two

www.tasker.it

addition of the ESP-1240 and ESP880 models to include options for Dante audio networking and Bose AmpLink connectivity. The ESP1240A, 1240AD, 880A and 880AD variations inherit a fresh visual appearance while maintaining key features from their predecessors.

The ESP-1240A and ESP-880A include 12x4 and 8x8 analogue I/Os with integrated Bose AmpLink output for digital connections over Cat-5. The ESP-1240AD and

ATH-M60x 3m coiled, 3m straight and 1.2m straight.

Keeping with the headphone theme, Audio-Technica has released a trio of new sets: the BPHS2 stereo and BPHS2S single-ear headsets with dynamic microphones, and the BPHS2C stereo headset with lowprofile condenser mic designed to be less visible on the user. The BPHS2 is based on the aforementioned ATH-M60x and uses the same 45mm large-aperture drivers. www.audio-technica.com

Tasker’s multi-coloured cables TASKER’S FLUO series of audio cables are manufactured with a PVC sheath and are available in five colours: red, green, blue, yellow and transparent bronze.

The series consists of the T33 and the T32 cables. The T33 is a guitar and instrument cable, while the T32 is a balanced microphone cable. Both are manufactured with OFC red copper conductors and incorporate a carbon screen shield.

Bose is in the zone

New Bose ControlSpace commercial sound processors (left) and engineered sound processors (right) processors feature a workflow using an integrated webserver with browser-based control software for access to the CSP configuration page.

The real-time interface features live metering, while providing tasks such as setting sources, paging thresholds, adjusting EQs and tuning limiters. The CSP models offer AutoVolume compensation that continuously adapts zone output level based on the ambient noise of the room to maintain consistent program material.

SmartBass dynamic equalisation enhances the low-frequency output of smaller loudspeakers. Optivoice paging provides a smooth transition between the music and page signals, while Opti-source level management monitors the input level of up to four sources.

The family of ControlSpace ESP fixed I/O engineered processors has been extended with the

ESP-880AD versions integrate both AmpLink and 32x32 Dante connectivity. All four ESP models utilise ControlSpace Designer software for configuration, control and monitoring.

To complement the ControlSpace CSP and ESP processors, three CC-1D, CC-2D and CC-3D digital wall controllers provide further user flexibility. Finished in white, the three controllers feature a single rotary encoder and circular LED ring for which the CC-2D and CC-3D allow the rotary encoder to be pushed for A/B or A/B/C/D source selection with LED source indicators on the panel. The CSP and ESP processors are further supported by ControlSpace Remote, for which customised control panels can be built and installed for wireless control from mobile phones, tablets or laptops. pro.bose.com

Williams AV connects crew members DESIGNED FOR use in event production where full-duplex communication is required between non-mobile and mobile crew members in the same venue, Williams AV has unveiled its Digi-Wave Intercom Bridge. The wireless add-on bundle is an expansion of an existing Clear-Com 2-wire intercom base system and has been upgraded to include Williams AV’s wireless Digi-Wave DLT 300 transceivers.

Digi-Wave Intercom Bridge with DLT 330 transceiver

For assistive listening and language interpretation in commercial spaces, Williams AV has also rolled out its SoundPlus IR T2 infrared transmitter.

Reportedly offering 50% greater coverage than the current WIR TX75, the IR T2 joins the company’s IR T1 and is said to provide additional coverage and wider pattern, plus there is no need for a slave. www.williamssound.com

November–December 2018 WORSHIP AVL 61

PRODUCTS

Calling in the Lexperts THE LEXPERT family is a new range of LED units from ADB Stagelight, designed to replicate traditional white light sources. Family members include

Lexpert Emphasy the Lexpert Profile spot, Lexpert Fresnel and Lexpert Emphasy, all of which are available in two versions, offering different colour temperatures: warm (3,200K) and daylight (5,600K).

Lexpert Fresnel Lexpert Profile is a 300W profile spotlight built to replace a 1KW halogen profile fixture. Modular in design, its body contains the LED source and an optical unit with either a 15° to 30° or 25° to 50° zoom. The two zoom modules are interchangeable.

Developed to take the place of 1KW halogen Fresnels, Lexpert Fresnel presents a 150W LED source of white light and is also available in warm and daylight versions. It is designed to be light and compact, while reportedly keeping heat and sound emissions down, with a noise level of less than 30dB. The Fresnel also has a 200mm lens and motor-driven linear zoom, delivering a uniform beam, which can be adjusted from 8° to 80° via local and DMX controls. Users are able to select between 8- and

16-bit operation on four channels, with four preset dimmer curves, or make manual adjustments using a knob on the back of the unit. It has a frequency range of 600Hz to 48kHz, and control is offered through DMX512, RDM and Art-Net 3.

Finally, the Lexpert Emphasy is an LED profile spot intended primarily for accent lighting. With a lightweight construction and built-in electronic control, the unit is also fan-less resulting in ‘total silence’ during operation. ADB Stagelight emphasises the aesthetic look of the Lexpert Emphasy, stating that it is ‘a solution for all applications where the fixture cannot be hidden and an object or an architectural detail has to be enhanced’. It features a high colour-rendering index (CRI*95), stable-overtime and a reported high light output-to-power consumption ratio.

The lens is designed around the LED to deliver a precise, sharp, perfectly diffused beam.

Lexpert Emphasy is available in several versions, with different beam angles (19°, 26°, 36° or 50°), warm and daylight colour temperatures (3,200K or 5,600K), body finishing colour (black or white) and a DMX version for theatrical use. www.adbstagelight.com

The three Lexpert models

62 WORSHIP AVL November–December 2018

Cuepix 16 IP

Elation caters for all weathers WITH MORE and more events being staged outdoors, Elation Professional has expanded its range of IP-rated products with Cuepix 16 IP, a 4x4 matrix LED blinder and effects panel with an IP65 rating.

Cuepix 16 IP is an updated version of the company’s 5x5 Cuepix Panel and houses 16 long-life 30W RGBA COB LEDs to provide a ‘full spectrum of well-balanced, custom colours with no pixelated rainbow shadows’. The amber LED is said to extend the possible range of colours and give more control over white balance.

The COB LEDs reportedly give a higher density output and a more even light distribution. Each COB module is individually controllable, while RGB, dynamic amber and pixel flip modes add to the LED’s ‘creative potential’. The five pixel flip modes allow users to uniformly configure all pixels in multi-panel configurations, regardless of the installation setting.

The LED colour matrix projects a wide 62° beam angle with an 87° field angle. When used with cameras, the silent fixture is flicker-free thanks to the LED refresh rate and gamma brightness settings. Cuepix 16 IP is said to dim smoothly all the way to zero with adjustable dimming curves. The fixture also includes an adjustable high-speed strobe.

Meanwhile, the lighting manufacturer has unveiled eCast, a stage lighting control app designed for use in small- and medium-sized venues. The app requires an Elation 4Cast DMX Bridge as the interface between lighting fixtures and an iOS device. The eCast App can control up to 576 lighting fixtures and up to 12 DMX universes, and includes an effects generator for movement, colour and flash effects. The app will work with any Art-Net or sACN node and is available from the App Store. www.elationlighting.com

House lights come into the mix CHAUVET HAS responded to requests for full colour mixing in house lights with its Ovation H-605FC. The convection cooled fixture is powered by an RGBALime LED engine, reportedly enabling it to replicate nearly any colour, as well as virtually any colour temperature of white, making it suitable for traditional house lighting as well as applications that call for more colour to be added to the room.

The fixture offers colour temperature presets from 2,800K to 6,500K, 16-bit dimming and adjustable Pulse Width Modulation, which avoids flickering on camera.

It offers interchangeable lens plates to allow the fixture’s beam angle to go from narrow to wide, while an included yoke allows for mounting from pipes or integrated

Ovation H-605FC loop-eyes. The light can be controlled via DMX, WDMX or RDM and has 5-pin XLR and terminal blocks for DMX connections. www.chauvetprofessional.com

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PRODUCTS

Claypaky adds to Axcor range FOLLOWING IN the footsteps of the Axcor Profile 900 LED spot profile, Claypaky has unveiled the Axcor Profile 600 and 400 luminaires featuring the manufacturer’s patented beam framing system. Both models are available in two versions: with

Axcor Profile 400

6,500K colour temperature and high light output, or with 5,600K colour temperature and a CRI of around 90.

Axcor Profile 600 has a wide zoom range from 5° to 45° (1:9 ratio) which means that, according to the manufacturer, the light can be used in a variety of situations, including those where a narrow angle is better. It incorporates one colour wheel with seven colours, one rotating gobo wheel with six gobos and a rotating 4-facet prism.

Meanwhile, Axcor Profile 400, measuring 65cm high, incorporates a framing system that works on four planes, an effects section with an animation wheel, a colour system with linear CTO and a high precision mechanical iris. It has three operating modes: silent, standard and auto. www.claypaky.it

Silent and smooth for Robert Juliat SHARING THE same technology as the manufacturer’s Alice and Oz follow spots, the Charles 960SX series represents another new range of LED profiles. The 600W profiles are available in three variable zoom ranges (29°/50°, 15°/40° and 8°/16°) and exhibit a high optical efficiency with a 6,000K colour temperature and a CRI in excess of 90. Smooth electronic dimming and an integrated, flicker-free power supply ensures silent operation together with a high output reaching 80% of the 2.5kW HID D’Artagnan capabilities.

Featuring a 4-colour mixing system (red, green, royal blue and warm white 2,200K), the Dalis range has been expanded with the introduction of Access 863. The 150W LED cyc light shares the same technology as the original Dalis 860 Cyclorama fixture, offering just four colours and 24 of the asymmetrical micro-reflectors.

Designed for the creation of colourful upstage or downstage lighting, the Dalis 864 Footlight is a 150W colour variation of the Dalis 862 tuneable white footlight. www.robertjuliat.com

Fiilex enters full-colour RGB lighting market THE MATRIX II RGBW fixture marks Fiilex’s entry into the full-colour RGB lighting market. To differentiate it from its rivals, the Matrix II RGBW features Dense Matrix LED clusters to create multi-wavelength colour groups with multiple custom chips covering a specific hue rather than single chips representing a hue range. This approach means each chip outputs a specific portion of the hue wavelength, which the manufacturer states produces ‘a broader and deeper range of hue’.

Four Dense Matrix LED clusters are

The Matrix II Tunable White

The optional Quad-Fresnel

set into a custom-designed reflecting chamber and enclosed by a layer of diffusion. It supports additional

optics and accessories that can reshape the fixture’s illumination and is compatible with light banks from

Chimera as well as DoP Choice when using the speed ring accessory. It can also be used as a front-focused light with the optional Quad-Fresnel.

The Matrix II is available in two models. The manufacturer states that the Matrix II Tunable White and the RGBW model both offer ‘an improved mechanical design, smoother dimming down to 0%, magenta/green hue adjustment and tunable CCT’ (2,800K to 6,500K and 2,800 to 10,000K, respectively). www.fiilex.com

Martin is in a Rush FOLLOWING AN official launch at InfoComm 2018, Martin Professional has announced that the Rush entertainment lighting fixtures are now shipping. Featuring 12W RGBAW+UV 6-in-1 LEDs, the Rush Batten Hex 1 is a 12-cell batten wash fixture that can transmit intense light for colour, white or black-light applications. With available pixel mapping of the individual LEDs and a removable diffuser lens that increases the beam angle of the fixture from 25° to 32°, the new model can be specified for multipurpose applications. The Rush Blinder 1 WW is an ultra-bright 2x2

Rush Betten Hex 1

Rush Blinder 1 WW

64 WORSHIP AVL November–December 2018

LED blinder fixture incorporating four individually controllable 100W COB warm white LEDs capable of providing over 19,000 lumens output. A unique frame can be used to attach fixtures together in a grid pattern, while the individually controllable COBs create pixel effects across multiple fixtures.

Designed as a successor to the

Rush PAR 1, the Rush PAR 3 RGB is a 36W single-lens LED PAR can fixture that comes with fully pre-mixed colour. A magnetically attached beam angle reducer lens provides both 80° and 14° beam angle options, while a fanless design provides quiet operation. Finally, the Rush PAR 4 UV has been created as a single-lens UV LED PAR can fixture in black-light applications. Integrating a 100W COB 400nm UV LED mounted in a reflector for high-output ultraviolet light, the fixtures incorporates regulated air cooling for quiet operation. www.martin.com

PRODUCTS

Ayrton gets in the frame AYRTON HAS extended its Automated Luminaire range with the addition of Bora-TC, an 800W LED wash luminaire with a 32,000 lumens output, a 70% optical efficiency, a native high CRI greater than 90 and high TM30 readings. Among its other features is

Philips updates its VL2500 Series PHILIPS HAS added the VL2600 Profile, Spot and Wash to its Vari-Lite brand. The Profile and Spot produce 19,000 lumens of high colour temperature and high contrast light output from their 550W engines. With a range of 7° to 48°, they expand on the colour range of the VL2500

lightweight, fast and accurate’, the Profile and Spot also benefit from a flat, even beam, a full wipe framing shutter and a CRI of 81.

The VL2600 Wash produces 22,000 lumens of high colour temperature from its 550W engine and has a zoom range of 12° to 63°. It includes an internal, beamshaping framing system and has an adjustable beam edge feature (PC or Fresnel). Other benefits include a variable fan control and a fixed colour wheel, and the Wash matches its Profile and Spot siblings with a CRI of 81. www.vari-lite.com

VL2600 Profile and reportedly offer a broader choice of saturated colours while maintaining the familiar Vari-Lite colour palette. Effects features include iris, two gobo wheels, one fixed colour wheel, prism and variable frost. Described by the manufacturer as ‘compact,

colour wheels, each with seven complementary colours, a 0% to 100% variable linear frost and a 15-blade iris diaphragm and de-focusable rotating beam-shaping optic.

an integral framing system that covers the full surface area.

The luminaire offers an 8:1 zoom giving an 8° to 64° beam spread through its 204mm Fresnel front lens. The feature set includes CMY colour mixing, variable CTO, two

VL2600 Spot

www.ayrton.eu

PR Lighting brightens its catalogue A RAFT of new products has been Hybrid is the manufacturer’s new added to the PR Lighting catalogue. hybrid moving head, said to deliver a The IP65 Arc LED 60 features Osram full designer’s toolkit in a single unit.

60W LEDs, a compact size (3.75kg), It uses an Osram 440W discharge a 4.7° beam angle and source with PR Lighting’s advantage a variable colour optical system and has a correction (3,200K to solid beam, wide 60° 7,300K). It can be wash and an even hung in any position varied spot. With a and is powered power consumption by a rechargeable of 650W at 220V and lithium-ion battery. a mechanical dimmer Designed for outdoor adjustable from 0% events and activities, to 100%, the moving Arc LED 60 also head incorporates incorporates a DMX512 three prisms: two wireless receiver, an 8-facet prisms and optional DMX512 one 4-facet linear wireless transmitter prism. In beam and is housed in mode, the light high-intensity, die-cast operates from 0° to 2.8°; Merlin aluminium. in spot mode from 2.8° Next on the list is XLED to 60°; and in wash mode 6019, a bright LED colour wash from 10° to 60°. moving head luminaire featuring Finally, Merlin integrates a spot, 19 Osram 60W LEDs. It includes a wash and beam into a single unit. variable colour temperature (2,700K It combines 480W lamp technology to 10,000K) and various effects such with double shutter blades and a as rainbow, wash, beam, profile, mechanical dimmer adjustable from kaleidoscope, swirl and various 0% to 100%. It also incorporates the macros. Alongside a pan tilt swap and same three prisms and operating invert function, the head movement angles as its Hybrid counterpart. is 540° pan and 0° to 180° tilt.

It comes with a DMX512 wireless Control is via a DMX512 and a 5-pin receiver as standard and an optional interface. In standard mode, the DMX512 wireless transmitter. Both luminaire provides 19 channels in Hybrid and Merlin are IP20-rated. standard mode and 92 channels in www.pr-lighting.com extended mode. It is also IP20-rated.

Introducing the Streamster RUSHWORKS’ STREAMSTER – also referred to as the A-List Streamster on account of the A-List Broadcast server included – enables houses of worship to create an internet TV channel. Building on the manufacturer’s A-List Broadcast Automation System, Streamster can best be described as a desktop

scheduling and playback engine.

It includes the majority of the software features found in the A-List Broadcast server, differing in its dedication to IP operations with no baseband video input or output.

Possessing NDI and URL streaming I/O, Streamster facilitates the management of an internet TV

channel with an i7 processor, 16GB of memory, a 512GB SSD, keyboard and mouse. The system

runs on Windows 10 and includes USB ports and GigE, wireless and Bluetooth capability, making it accessible to house of worship volunteers who may be familiar with many of these technologies found in consumer devices. www.rushworks.tv

November–December 2018 WORSHIP AVL 65

PRODUCTS

TVU Producer goes pro Filtered control TVU PRODUCER PRO is the latest addition to TVU Networks’ family of remote production solutions designed to facilitate professional, multi-camera live video production. It is a cloudbased video production suite that enables multi-camera production to be conducted from a web browser-based interface.

Featuring a multichannel IP video switcher and titling as well as graphics capabilities, TVU Producer Pro has the ability to simultaneously output content directly to Facebook Live, YouTube Live, Periscope Producer,

CDN platforms and SDI via a TVU transceiver. It supports multi-user operation, allowing for collaborative workflows, and its WYSIWYG interface is designed for users of all abilities to manipulate graphics and text overlays during production. iOS, Android or macOS devices can be added as live video sources when equipped with the TVU Anywhere app. The solution is compatible with all TVU transmitters, IP video sources and standard IP video streams.

allowing them to also be used with traditional tungsten lamps. They are available in two sizes – 50cm x 60cm and 100cm x 60cm – and can be cut into any shape or size. Symmetrical and asymmetrical patterns on the market include 10°, 10° x 20°, 10° x 30°, 10° x 60°, 15° x 35° and the 40°/60° reversible variants.

Further patterns are reportedly in development. www.rosco.com

Ross’ new experience

www.tvunetworks.com

Quick control from ChamSys THE THREE models in the ChamSys QuickQ series have been designed to put more powerful lighting control in the hands of students/ house of worship volunteers and programmers, regardless of experience or budget. The manufacturer believes that even established professionals will find the console to be a ‘valuable’ tool for running smaller-scale shows.

The consoles incorporate a smartphone-like interface and a 9.7-inch touchscreen. The buttons and faders are described as ‘easy-tounderstand’, the colour selection menu as ‘simple’ and the intensity control tools as ‘readily accessible’.

Built-in Wi-Fi capabilities mean the consoles can be controlled from a tablet or phone, both of which can also serve as a second external monitor. The console comes with free downloadable offline QuickQ programming software for Mac and Windows, including a MagicVis visualiser.

QuickQ users can also program their designs on a computer, save

‘THESE FILTERS have been engineered to enable lighting professionals to accurately control the shape of their light,’ said Rosco’s director of products, Tracey Cosgrove, of the manufacturer’s new Opti-Sculpt filters. ‘They will allow our customers to achieve new lighting control with their current fixtures in ways they never could with existing diffusion filters.’

Designed for use on LED fixtures, the Opti-Sculpt filters are heat-resistant,

UX 4.0 is the new generation of control interface from Ross Video, developed to improve virtual production control. The UX Xperience ‘control centre’ application is itself designed to be customisable and easy to use as a touchscreen interface.

It integrates with tracking systems, keying products and real-time 3D rendering engines including Ross Video’s own XPression and Frontier.

QuickQ 10 them on a flash drive and load them onto the console. Show files can be saved on the console and replayed via the console’s cue/chase system for playback.

QuickQ 10 supports one universe, features dedicated hue and saturation control encoders for controlling LED and traditional conventional fixtures, and 20 fixture faders. QuickQ 20 has all of the features of the QuickQ 10 but supports two universes and includes four attribute encoders for controlling moving lights. Finally, QuickQ 30 has all of the features of the QuickQ 20 but 40 fixture faders and supports four universes. www.secure.chamsys.co.uk

QuickQ 30

66 WORSHIP AVL November–December 2018

UX 4.0 enhances the functionality and connectivity of various components, such as UX Track, UX Server, workflow capabilities, and tracking and mounts. A pair of new features is also present in the form of Visual Logic and an Unreal4 plug-in.

Visual Logic allows users to create complex behaviours by dragging and dropping parameters onto a display, connecting them in a visual, node-based method. The Unreal plug-in, meanwhile, facilitates the feed of data from UX directly into the Unreal4 engine’s blueprint layer.

Data can be fed as strings, integers, floats, vectors, drive animations and meshes. www.rossvideo.com

Just Add Power extends video distribution boundaries DESIGNED TO provide ultra-low source-to-screen latency in 4K applications, the latest 3G Ultra HD over IP series of solutions from Just Add Power (J+P) are undetectable to the human eye. Drawing on a common IP infrastructure, J+P’s devices can match bespoke hardware and budget requirements. Having reduced latency down to 16ms, 3G Ultra HD over IP solutions can be applied to an assortment of variously scaled UHD distribution and matrix applications.

Adopting standard PoE, J+P’s solutions consume a maximum of 10W per device, decreasing power consumption by 30% and eliminating

the cost of proprietary PoE injectors.

In addition to using standard network protocols (telnet, TCP/IP, UDP and multicast), they also work with off-theshelf gigabit switches. Operating from an isolated, firewall-protected VLAN, the devices require no further security measures. www.justaddpower.com

PRODUCTS

Kumo gains 12G-SDI inputs AJA HAS introduced a pair of new compact 12G-SDI routers: Kumo 3232-12G and Kumo 1616-12G. Both support large format resolutions, high frame rate and deep colour formats, while being designed to reduce cable runs when transporting 4K/UHD content over SDI.

of Kona HDMI and Kona 1. Kona HDMI is a video capture card that supports a range of workflows, including live streaming. It can manage the capture of four HD channels simultaneously with various streaming and switching applications. In addition, Kona HDMI can offer a single channel of UHD

Kumo 1616-12G and 3232-12G stacked Kumo 3232-12G offers 32 12G-SDI inputs and 32 12G-SDI outputs, while Kumo 1616-12G presents 16 of each. They mirror the manufacturer’s Kumo 3232 and Kumo 1616 routers, but add a new USB port for configuring IP addresses via AJA’s eMini-Setup software and introduce multi-port Gang-routing, making them 8K-ready.

AJA’s Kona family also has some new additions in the form

up to 60p over HDMI 2.0 using the AJA Control Room software.

Meanwhile, Kona 1 is a singlechannel 3G-SDI 2K/HD 60p I/O PCIe card offering serial control and reference/LTC. It features standard application plug-ins, as well as AJA SDK support, while supporting 3G-SDI capture, monitoring and playback. www.aja.com

AT-HDR-M2C-Quad

Converting audio 4-fold ATLONA’S AT-HDR-M2C-QUAD multichannel audio converter features the downmixing capabilities of the manufacturer’s AT-HDR-M2C and offers four simultaneous HDMI inputs. The 1U rack-mountable Quad unit is designed to facilitate the easy integration of multiple HDMI audio sources into distributed audio systems. It extracts, decodes and downmixes multichannel PCM, Dolby and DTS audio, including HDRenhanced 4K/UHD signals.

The AT-HDR-M2C-Quad supports HDMI signals up to 4K/UHD at 60Hz with 4:4:4 chroma sampling and data rates up to 18Gbp. It can de-embed HDMI audio whether it’s connected to an HDMI display or not.

The Quad is HDCP 2.2 compliant and capable of managing video resolutions, audio formats and colour spaces encompassed by the HDMI 2.0b specification, and it is

compatible with 4K HDR10 and Dolby Vision at 60Hz. With integrated audio volume, bass and treble adjustments negating the need for an external DSP to change gain and tone settings, the AT-HDR-M2C-Quad can be controlled via an IP network utilising the built-in web interface, the Atlona Management System (AMS 2.0) software, the manufacturer’s Velocity IP-based A/V control system or thirdparty control systems.

Also new is the JunoX 451 HDBT (ATJuno-451-HDBT) HDMI and HDBaseT 4-input switcher (three HDMI inputs, one HDBaseT input) for receiving video, embedded audio and Ethernet over Cat-6a or Cat-7 cabling. It takes the features of the JunoX 451 4x1 HDMI switcher and adds HDBaseT functionality for transporting signals over longer distances. www.atlona.com

BRINGING TECHNOLOGY TO THE MARKET, DELIVERING TECHNOLOGY 1/2PAGE TO PROFESSIONALS

HORIZONTAL To participate, contact:

2019

30.05 - 01.06.2019 Bombay Exhibition Centre, Goregaon (East), Mumbai, INDIA

Ramesh Chetwani Exhibition Director +91 916 744 7440 rchetwani@palmexpo.in

November–December 2018 WORSHIP AVL 67

PRODUCTS

Barco caters for all budgets Sapphire fits the frame

BARCO IS aiming to strengthen its position in the LCD videowall market with the launch of its ‘budgetfriendly’ OverView KVD5521B, a tiled LCD system compatible with any VESA mounting structure.

Incorporating many of the benefits of the company’s UniSee platform, such as easy maintenance, noiseless operation, automatic colour and brightness calibration and remote power supply operation, OverView KVD5521B is an optimised version of the KVD5521, Barco’s

55-inch LCD videowall.

The absence of cooling fans is said to minimise noise and means that no moving parts are used. The introduction of DisplayPort V1.2, which enables feeding four displays in loop-through with 4K@60Hz content, reportedly allows for easy connection with a limited number of cables.

The videowall provides 500 nits of brightness with a 3.5mm bezel, while integrated sensors in the back provide automatic and real-time colour and brightness calibration.

The videowall has a number of features to prevent downtime and speed up servicing. According to the manufacturer, the input boards and power supplies can be quickly removed for maintenance or replacement, while the use of LCD Connect makes it easier to control the videowall.

THE ROE Visual Sapphire is an LED display designed with a 1.5mm pixel pitch display that the manufacturer claims ‘offers a completely new approach to building and mounting large display LED screens’. Sapphire is able to facilitate multiple resolution types within the same hardware frames.

Users are able to intersect Sapphire frames in all manner of ways, leaving gaps as part of the display, which Roe states ‘offers an improvement over traditional rows and columns’ that most LED panels are designed

to form. ‘Easy access’ is provided for the integrated eject motor and for removing panels in any position from the frames. Roe’s Front Protection Treatment has also been applied to Sapphire to prevent damage, as well as reinforcing the edges and corners of the individual boards.

Roe has also released the Black Marble Glass LED platform, an LED floor solution that provides the stage floor at a house of worship with the look of a televised concert. www.roevisual.com

www.barco.com

A Sapphire panel and outside frame

Digital Projection sees red THE PROPRIETARY ColorBoost + Red Laser technology is one of the key new features found in a range of Digital Projection’s laser projectors.

The manufacturer describes the technology as ‘an intelligent processing innovation to deliver the most accurate colour reproduction’ and claims that it brings the performance of its 1-chip range of DLP projectors closer to that of 3-chip DLP projectors.

The projectors use red lasers coupled with a specially designed colour wheel. The manufacturer states that the resulting colour gamut guarantees the projector will achieve at least the REC709 standard.

A second technology update from the manufacturer sees the introduction of IP60-rated 100% sealed optics. The optical engine uses liquid cooling via a radiator heat exchanger to create a filter-free projector. This ensures that light output and colour performance will not be degraded due to the ingress of dust. Models that use the technology include the Titan family,

M-Vision Laser 21000 WU M-Vision Laser 21000 and E-Vision Laser 13000 WU, as well as a range of Digital Projection’s single-chip DLP laser projectors, including the E-Vision Laser 10K, WQ120, 8500 and 4K-UHD. Staying with Titan, the Titan Laser 37000 WU and Titan Laser 33000 4K-UHD projectors produce 37,000 and 33,000 lumens, respectively, and are additions to the manufacturer’s 3-chip Laser series.

The brightness has been achieved thanks to the manufacturer pairing its third-generation laser illumination systems with Texas Instruments’

68 WORSHIP AVL November–December 2018

Below: E-Vision Laser 11000 3-chip DLP technology.

Input capabilities include a pair of HDMI 2.0b with HDCP 2.2 and HDR processing; two HDMI 1.4b for both single and dual pipe 3D processing and support of frame sequential 3D formats; and 3G SDI and DisplayPort 1.2 to ensure the latest connectivity for high bandwidth 4K content delivery. Other features include Constant Brightness Control and DMX Art-Net compatibility.

The M-Vision Laser 21000 WU, meanwhile, boasts 20,000 lumens output and a 10,000:1 contrast ratio. Its DisplayPort accepts frame rates up to 60Hz and HDMI 1.4b for side-by-side frame packing and top bottom 3D formats. Motorised shift, zoom and focus across the whole lens range completes the feature set.

The E-Vision Laser 13000 WU comes as standard with HDMI 1.4b, DisplayPort and HDBaseT connectivity, while accepting both commercial and domestic 3D signals. The single-chip DLP laser phosphor projector features automation and central control via a PC-based application as well as edge blending and geometry correction. Staying in the E-Vision family, the E-Vision Laser 11000 4K-UHD offers 10,500 lumens of brightness alongside 4K UHD resolution (3840x2160). www.digitalprojection.com

PRODUCTS

Bittree makes history BITTREE HAS announced the first series of video distribution amplifiers in the company’s 40-year history. The 12G Video Distribution Amplifiers ‘condense customers’ growing signal distribution requirements into a lightweight, highdensity, modular form factor while supporting 12GB/s data rates’.

The flagships of the new family are the DAF32FX distribution frames and the DABFX cards that build on the functionality of their coax-only siblings to empower hybrid video infrastructures. The frames can

host up to 32 1-in/4-out distribution amplifier modules to reportedly provide ‘exceptional’ signal density in a small footprint.

The cards feature one input and four outputs with DIN 1.0/2.3 connectors on the rear of the module. The cards are compliant with SMPTE 259M, 292M, 344M, 424M, ST2081-1 and ST2082-1 technical standards, support data rates up to 12GB/s and are said to enable reliable distribution of analogue, SD-SDI, HD-SDI and 4K video with embedded audio. An SFP (small form factor pluggable) interface

Sony zooms in

BRC-X1000 SONY HAS released a pair of new PTZ cameras, the BRC-X1000 and BRC-H800, which are 4K and HD models, respectively. They are available in a black or white finish, the latter targeting environments such as houses of worship.

The BRC-X1000 also holds the distinction of being Sony’s first 4K remote camera.

Both include a 1.0-type Exmor R CMOS sensor and are built for

‘near-silent’ PTZ operation. PTZ Trace Memory allows a sequence of camera movements to be memorised and followed whenever required, while PTZ Motion Sync ‘smoothly’ blends separate pan, tilt and zoom movements. A low-speed zoom and a slow pan/tilt mode reportedly allow for ‘precise, judderfree’ camera movements. They are described as particularly suited for multi-camera setups, under the control of a single operator. Up to 100 preset positions for pan/tilt/ zoom operations are included.

The cameras incorporate a Zeiss Vario-Sonnar T lens with a 12x optical zoom range to cover wideangle shots as well as tight closeups. Sony’s Clear Image Zoom expands this to 24x and, in Tele Convert Mode, this can be doubled again to 48x while maintaining a 1920x1080 resolution.

The DAF32FX 12G Video Distribution Amplifier frame on each DABFX card can be populated with the customer’s choice of a fibre or HDMI SFP module, and can be configured as either input or output.

The option of IP connectivity via fibre means the 12G distribution amplifiers can serve as on- or off-ramp gateways between traditional SDI video signals and IP video networks using the SMPTE ST 2110 standard.

Each DABFX also comes with two mini-WECO jacks on the front. The mini-WECO interfaces enable direct

patching between Bittree 12G video distribution amplifiers and the 12G+ mini-WECO coaxial patchbays. One of the mini-WECO jacks serves as a halfnormalling output, allowing it to act as a test and monitoring point without interrupting the flow of the source signal to the four standard outputs.

The second mini-WECO jack acts as a direct input to the distribution amplifier. www.bittree.com

Panasonic promotes PTZ THE UE150 (AW-UE150) is a new, integrated remote PTZ camera from Panasonic that offers 4K 60p capture.

It supports several 4K interfaces and simultaneous 4K/HD output, while reportedly providing the ‘widest viewing angle in its class’ at 75.1° horizontal.

Incorporating a 1-type MOS sensor, 20X optical zoom and seamless intelligent zoom (i Zoom), the UE150 supports 12G-SDI,

AW-RP150 HDMI, fibre optic and IP interfaces.

Compatible with the UE150 is Panasonic’s new RP150 (AW-RP150) remote camera controller. The controller is compatible with other remote cameras and features a single-hand joystick to control PTZ or focus. A large, touchpanel LCD screen provides a view for monitoring and menu settings. An SDI input facilitates camera monitoring via the LCD panel.

Finally, Panasonic has launched the SQ1 Series of large, 4K displays for indoor use. The TH-98SQ1 is a 98-inch screen, while the TH-86SQ1 is slightly smaller at 86 inches.

pro.sony.com www.panasonic.com

AW-UE150

Through the smart glass VADDIO’S ROBOSHOT IW (in-wall) HDBaseT recessed HD PTZ camera has been designed with interior design concerns in mind. It features a ‘smart glass’ cover to remain discreet when not in use.

‘The smart glass cover changes from a frosted opaque when the camera is off to a transparent clear glass when the camera is powered on,’ explained Vaddio director of product management, Jay Kilby.

‘In addition to room aesthetics, this also easily informs room occupants whether or not the camera is active.’

RoboShot IW’s smart glass cover

The clear glass version

The RoboShot IW is initially available in two configurations: the RoboShot IW OneLink HDMI System and the RoboShot IW OneLink Bridge System.

The frame comes in black or primed

so that it can be painted to match a room’s décor. A clear glass version is also available.

The camera features a 10x optical zoom with a resolution

of 1080p/60fps and 16 camera presets. Other functionality includes a web-based user interface for remote configuration and control, automatic or manual colour adjustment, and the ability to adjust for image colour, shading, backlight and wide dynamic range. Its HDBaseT technology reportedly makes the RoboShot IW easy to connect to other HDBaseTcompatible devices, simplifying cabling and the extension of video, power and control for installations with a distance of up to 100m. www.vaddio.com

November–December 2018 WORSHIP AVL 69

THE TECH VIEW

Church of the Resurrection heads downtown Church of the Resurrection has built the first new church in downtown Kansas City for almost a century. Tech arts and facilities director Kenny DeCoursey recounts the planning and installation of a whole new AVL setup Kenny DeCoursey, tech arts and facilities director

THE UNITED METHODIST CHURCH of the Resurrection first started conducting services in downtown Kansas City at rented accommodations in 2009. As the years passed and the church’s congregation grew, Church of the Resurrection chose multiple venues to serve as its downtown home, eventually outgrowing each of them.

When in 2015 a former parking lot became available at 1601 Grand, the church seized the opportunity to construct a new sanctuary from scratch. The result is a US$10.2 million, state-of-the-art facility.

‘Approximately US$530,000 was allotted to the AVL budget, including the preliminary design,’ reveals Kenny DeCoursey, tech arts and facilities director at the downtown campus. ‘We are very fortunate to have a congregation and building committee that understands the importance of installing a great AVL system to create a memorable and immersive worship experience. AVL was towards the top of the priority list when designing the building and putting together the budget, along with increased children’s programming space and a larger worship area.’

RezDowntown Church of the Resurrection comprises four campuses around the greater Kansas City area.

The downtown site is known as RezDowntown.

‘Having a great worship experience has always been a major part of what makes RezDowntown a unique church to attend,’ says Kenny. ‘This includes our incredible musicians and songwriting community along with a level of production that accents and elevates the listening and viewing experience. As we began planning

70 WORSHIP AVL November–December 2018

the AVL for our new building, we wanted to take that experience and raise the bar to the next level. We wanted to design a system that could provide concert-level production with the flexibility of being able to be used for any other type of event.

‘We had the privilege of hiring Stark Raving Solutions to do the complete design, build and integration for all of our AVL needs. We have had a great relationship with them for many years, and we were excited that they were up to the task.’

Kenny is familiar with many of the solutions available on the market, particularly in terms of lighting.

‘However, I depended on our integrator to put together a package that would give me all the features that I needed and that would still fit within the designated budget,’ he notes. ‘They were familiar with the fixtures I was already using – Chauvet Rogue R1 Spots and Colordash Batten Quad 12s – and I gave them input on what other fixtures I was interested in, like the Chroma-Q Inspire. In the end, we put together a package that I am really happy about and love using.

It consists of Chauvet Rogue RH1 Hybrid, R1 Wash, Colordash Batten Quad 6, Colorado Tour Quad Zoom, Ovation E-910 FC and Chroma-Q Inspire fixtures.’

Although the church has invested heavily in its new home, it has no intention to stop growing.

‘The greatest challenge we had in designing this system is knowing that, in a few years, there are plans to continue to expand the space even further,’ Kenny explains. ‘We worked closely with the architects to make sure that everything that was installed would either be able to be expanded as needed or was included in the master plan. For example, we decided to use a portable decking system for the stage, like you would see at a festival or on tour rather than building a permanent stage that would have to be ripped out. We also did not install discreet lighting positions hidden with a catwalk, but instead have everything exposed and hung on lighting pipes like you would see in a typical concert setting.’ www.cor.org/downtown www.starkravingsolutions.com

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