Worship AVL November-December 2020

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST November–December 2020 November–December 2020

TIME FOR CHANGE

Upgrading Washington’s National Cathedral

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MAKING AN IMPACT WITH HOUSE LIGHTING

REOPENING FOR WORSHIP

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Contents Issue 67

November–December 2020

NEWS EXPANDABLE COMMS Yongin Leading Church brings in LaON

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HALF CENTURY RCF helps Mosaic Church celebrate 50 years

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ROUND THE CLOCK Non-stop music at IHOPKC with SSL Live consoles

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ALABAMA UPGRADE ADJ chosen for Daystar Family Church

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ADDED INPUT Denton Bible Church gains a DiGiCo Quantum338

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RISING FROM THE ASHES Sint Niklaaskerk redesigns after fire

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CHRISTIAN NEWS RTK 103FM renews technical equipment with AEQ

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MORE CHANNELS Christ Church steps up to dLive

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SUPERSIZE dnp helps Fila Church put on a show

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COSY EARS LCBC Church takes comfort to the next level

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NEW KIT Martin Audio CDDs specified at First Bangor Presbyterian Church 18 GO-TO SOLUTION CCV purchases GLP moving light fixtures

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PROJECTS LIVESTREAMING New Creation Church moves its sermons and ministries online 20 CREATING CONTINUITY Five US churches streamline services with L-Acoustics

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BIGGER AND BETTER St Patrick’s Cathedral in Bunbury rebuilds after a typhoon

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COVER: LEAPING FORWARD Washington National Cathedral upgrades to HD

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SOUND UPGRADE Manna Methodist Church adds a new dimension

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KNOWHOW TRAINING PATHS How an in-house training plan can increase volunteers

Editor’s note

Email: rlawn@worshipavl.com

As any elder will testify – we never stop learning. We all missed the tutorial “what to do in the event of a pandemic” and as such were required to make a complete and immediate shift in our daily routines. To adapt accordingly, steep learning curves ensued. For those more traditional houses of worship that had previously resisted technological change, they were faced with having to close their doors indefinitely or adopt a 21st-century method of communication to establish contact with their stay-at-home believers.

As a result, houses of worship across the world have learnt and innovated within days. This was an opportunity for churches and technical teams to bring hope at a time when it was desperately needed. The impossible was achieved – well done. Looking ahead, volunteers and leaders will need to continue being more adaptable than ever before. Without the time for committee meetings or proper consultation in the early months of 2020, the change that was affected demonstrated our proactive values.

Our overwhelming desire to return to some sort of normality continues to be tempered by the lingering persistence of the virus. However, our faith serves as an inner strength when needed most. As restrictions to services are lifted only to be frequently reimposed, our hopes are dashed. Having adopted and adapted during this hugely disruptive year, most of us have unknowingly become stronger. We can all take the lessons learnt over this period to demonstrate our “can do” mindset.

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SHOOTING ON LOCATION Casey Hawkins covers the main AVL considerations 34 HOUSE LIGHTING John Black looks at how to make an impact

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MAINTENANCE How to deal with a shrinking wireless spectrum

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TECHNOLOGY

IN THIS ISSUE

REOPENING FOR WORSHIP How sanctuaries can overcome Covid restrictions 40 CAPTIVATING WORSHIPPERS Evolving technology is helping simplify workflow 42 WHAT’S IN A NAME? The pros and cons of spots, washes and beams

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BUYING GUIDE Purchasing considerations when buying moving lights

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PRODUCTS Equipment launches and updates

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THE TECH VIEW Social distancing at All Saints in Crowborough

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Contacts

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ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

CONTRIBUTING EDITOR Caroline Moss T: +44 1892 676280

SENIOR REPORTER Simon Luckhurst T: +44 1892 676280

EDITORIAL COORDINATOR Karen Wallace T: +44 1892 676280

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

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cvalliere@worshipavl.com

PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

DIGITAL MEDIA MANAGER Nick Smith T: +44 1892 676280

VIDEO EDITOR Chris Yardley T: +44 1892 676280

SOCIAL MEDIA COORDINATOR Jessica Ubhi T: +44 1892 676280

GUANGZHOU MANAGER Sue Su T: +86(20)85633602

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COVER: Washington National Cathedral PRINTER: Times Printers Singapore LICENCES: Singapore: MICA (P) 059/05/2020 PPS 1644/05/2013(022954) CIRCULATION: circulation@worshipavl.com All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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NEWS

LaON brings expandable comms to Yongin Leading Church KOREA Korea’s Yongin Leading Church has recently adopted a new communications system from LaON Technology in order to facilitate discussions between its director, based in the broadcast control room, and cameramen and operational staff members located in the Glory Chapel.

Delivered by 12 pastors in total, the church holds a staggering 27 services a week and boasts enviable amenities

including multiple chapels and multipurpose studios.

Prior to the equipment upgrade, the church had been using a basic walkie-talkie system. As parts of the church were being reconstructed, the decision was made to update a lot of the old equipment. Over time, full-duplex communication among staff and a system capable of handling many wireless beltpack connections had become necessary.

The new solution in use at Yongin Leading Church is built around a LaON Technology Genie BS1000 solution, the company’s flagship product. This was specified following an extensive site survey detailing coverage

The LaON BS1000 base station requirements, antenna positions and wireless frequency coordination and was the most appropriate solution given the church’s huge campus size.

“There were 5GHz wireless video signals being used by the cameramen,” recalled LaON’s Miyoun Park. “We have checked the signal and coordinated for the best RF channel for our antennas to avoid interference from those video signals.

With a number of other 5GHz devices creating congestion, the LaON system allows users to change the RF channel for the antennas or set up automatic RF scanning with GCM. Armed with LaON BP850 beltpacks, the cameramen’s communications can be heard via the integrated speaker in the Genie base station in the broadcast control room.

An external speaker can also be connected through the base station’s auxiliary interface. The completed solution comprises a LaON Genie BS1000 base station, RA100 remote antennas and BP850 beltpacks with their required accessories. The system can be easily expanded in the future with more antennas to extend wireless coverage to other floors, chapels, halls, or additional beltpacks and wired intercom panels.

“The church is very satisfied with the audio quality and ease of operation, and particularly likes the beltpack button lock function and the fact that a beltpack-only communication system can be constructed without a base station if necessary,” added Park. “As they also host many smaller events, they only have to bring along the beltpacks for those purposes.” www.jesuslove.or.kr www.laon-tech.com

Livingway Family Church strengthens its outreach USA An API 1608-II has become the centrepiece of the control room at Livingway Family Church. When the HOW realised that it needed to upgrade its audio production capabilities, creative pastor Chris Moore contacted Mike and Mark Stitz of Cool Pony Productions for advice.

Livingway is a vibrant, multi-campus church in Brownsville, Texas and, like many churches, is currently strengthening its outreach to families and communities with solid, professional-level content production.

After a series of consultations, the decision was made to order

an API 1608-II fully fitted with API’s proprietary Final Touch Moving Fader Automation. Now fully commissioned, the 1608-II

is producing worship music for its livestreamed content. Pastor Moore claimed: “How did we ever work without this console?”

“Mark and I have enjoyed the blessing of producing and recording for decades, and assisting countless artists, churches and labels to reach people. For us, this is what it’s all about,” said Mike Stitz. “People, whether or not they know why, do notice and are drawn to media elements with higher production values. We recommend API because it makes a huge difference in the sound of whatever we’re working on.

A lot of gear is subtle, and there’s nothing wrong with that; subtle is great and it has its place. But API has the ability to be either subtle, or not subtle at all, depending on your needs. Either way the depth, clarity, punch and warmth are obvious and right up in your face. It just leaves you smiling from ear to ear.” www.apiaudio.com www.livingwayrgv.com

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NEWS

Mosaic Church celebrates 50 years USA To keep up with continued growth following a half-century of ministry and community service in Clarksville, Tennessee, Tabernacle Church has completed a new construction project, adding 6,000m2 to its campus, including a 1,500-seat performance space. And with the expansion comes a new name – Mosaic Church – to reflect the diverse nature of the HOW’s demographic.

Audio and integration firm Holly Media was asked to oversee the expansion of the performance space, led by owner Fred Holly. “With new dynamics and changing needs, the scope of the ministry has changed – it’s become a new work,” said Holly. “Early on with my ideas for the shape of the room, I didn’t want to encounter any problems later on. I wanted the diffusion to be completely natural – with the splay of the walls and installing surface treatment.”

Holly was referred to RCF product specialist and system designer, Jim Reed, who put together a complete system including 16 (2x8) TTL 55-A active line array modules, four companion TTS 56-AS active subwoofers, two TT 25-CXA active floor monitors and four TT 20-CXA active monitors for the stage. For added coverage, Reed also specified nine HDL 26-A active line arrays for centre and front fills. At the helm is an Allen & Health dLive S7000 mixing console.

Once all the products were out of their boxes and flown, Holly was surprised at the time it took to test the sound system. “Literally, out of the box every single thing worked, 16 boxes,

Ceiling-suspended DLA-6C cabinets

Kangsung demands audio accuracy KOREA

One of the TTL 55-A arrays we had the network up and we’re firing. Everything was coming together, and the rig sounded amazing – very musical.”

RCF product specialist Zachary Anthony was brought in to provide tuning, optimisation and training.

“The sound quality from a TT rig is exceptional and, paired with the acoustic treatments, the room is near perfect,” added Anthony. “I stopped turning up at 110dB at mix position. Listening to that system is like listening to a giant pair of studio monitors – this room is an absolute pleasure to mix in.” www.rcf.it

Through a combination of massive testing, excellent contact tracing and public awareness, South Korea has adapted to the Covid-19 pandemic better than most other countries. Of the total 15,000 cases recorded to date, 5,000+ infections alone relate to the Shincheonji church in Daegu.

Having slowed the spread of the virus, the government relaxed restrictions on religious gatherings in late April,

MX8s in the under-balcony area although worshippers are required to keep their distance and wear masks.

But while most countries continue to broadcast their weekend services on their websites and social media platforms, South Korea has returned to some sort of normality. As such, most churches have recalled their choirs and musicians to help deliver their charismatic services.

Located in Incheon, the Kangsung Presbyterian Church called upon Ability Media Systems to install a new loudspeaker system for its audio upgrade in late July.

The 1,000-capacity sanctuary within the church has been outfitted with an Audio Performance system. Installed, tuned and commissioned between Sunday services, the L-R array configuration adopted by Ability Media Systems comprises five per side ceiling-suspended DLA-6C cabinets.

“Although services are restricted to a 200-congregant limit, our worshippers are now benefiting from intelligible audio reinforcement,” commented church media representative, Deacon Lim Jeong-sam.

The compact dual 6.5-inch enclosures are deceptively powerful and provide even coverage in the horizontal axis courtesy of the DLA-6C’s 100° horn directivity. With the clock ticking between services, the installation team had made advanced preparation prior to arriving onsite. Additionally, the Easy Spray software and Three Points Rigging hardware saved precious time when arraying each of the five cabinets in 0.5° increments between 0° and 10°. Providing low frequencies down to 55Hz (±3dB) ensured the church removed the need for additional subwoofers.

Following modelling conducted by Ability Media Systems project manager, Jeong-uck Nam, consistent audio dispersion has been achieved in both the under- and upper-balcony areas with the addition of four MX8 8-inch coaxial models. Unsurprisingly perhaps, the versatile, two-way, multipurpose series created by the same Echallens-based manufacturer is often compared to a Swiss army knife. Weighing 19kg and offering a maximum SPL of 130dB (peak) down to 57Hz, the portable 12inch version serves onstage monitoring.

As the church sanctuary fills to capacity once more over the coming months, those Kansung Presbyterian worshippers who have relied on streamed services for comfort, guidance and instruction, will soon be able to rejoice as a result of this simple, compact and powerful speaker system. www.audio-performance.com www.ams.pe.kr www.kspc.or.kr

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NEWS

SSL works around the clock at IHOPKC

FOH in the Global Prayer Room USA To help meet the challenges of delivering non-stop music and prayer to worshippers and streaming to the internet, the USA’s evangelical International House of Prayer of Kansas City (IHOPKC) has installed a pair of Solid State Logic Live series digital mixing consoles in its Global Prayer Room. A few miles away, in Grandview, Missouri, another pair of SSL Live desks handle house and stage sound, as well as web streaming, at IHOPKC’s Forerunner Church.

A pair of SSL Live L200 consoles, one at front of house and another at the monitor position, were installed at the Forerunner Church first. “We were definitely due for an audio upgrade, so we did a big fundraiser and got a nice sized budget and started demoing different consoles,” recalled Nicholas Kramer, IHOPKC director of sound.

“We had a team of advisors talking about what options were out there and what we needed. Sound quality was a very high priority. We demoed a few different consoles and the SSL just smoked them.”

Kramer elaborated: “We had about two weeks with each console, so I was able to get intimate with them.

Obviously, there are pros and cons with all consoles but, in terms of sonic quality, the SSL was just leaps and bounds ahead. As far as the sonic ‘picture’, the SSL Live was just a little bit wider, a little bit taller and a little bit deeper, and more transparent.

Plus, you could just do a lot more with the console.”

A few months after the L200s were installed at Forerunner Church, the

One of the two SSL Live L200s at Forerunner Church HOW also installed an SSL Live L300 at front of house with an L100 for monitors at IHOPKC’s Global Prayer Room. At the Forerunner Church location, the FOH and monitor desks interface via SSL Net I/O BLII Bridge units over a Dante network, with the monitor desk controlling gain staging from the stagebox. But at the Global Prayer Room, which operates 24 hours a day, seven days a week, the main stage snake is split five ways.

“Three of those splits go to front of house, one for the L300, one for an analogue console and one for the L100,” explained Kramer. “The two front of house consoles are in parallel and the two SSL Live consoles receive stage inputs over MADI.” The remaining splits go to the broadcast centre, where night-andday prayer and worship is streamed to hundreds of thousands of people

worldwide each year. The GPR web streams to a dedicated platform, but weekly services are also streamed live from Forerunner Church. IHOPKC reports that 215 nations access its online resources through over one million website visits annually.

While there currently is no interconnectivity between the two locations, “we might move to a full Dante network,” Kramer explained.

“We already have a dedicated fibre run that connects all of our buildings.”

In the Global Prayer Room, the L300 drives a JBL VTX line array. In the larger Forerunner Church sanctuary, the church operates a stereo Meyer Sound point-and-shoot box system.

“The system sounds incredible, so we’re spoiled there; it’s a top-ofthe-line PA,” commented Kramer.

“We’re using Sennheiser for our in-ear monitor packs and we’re using Shure

wireless for handheld mics.” There are approximately 60 inputs from the stage at both locations. As for outboard processing, Kramer uses a Teletronix LA-2A levelling amplifier on the preacher. “He has some voice issues, so we’ve spent a lot of money making him comfortable when he talks, and he loves it,” the director of sound shared. “For everything else we’ve got a Waves SoundGrid Server and a full bundle of plug-ins to sauce up the band.”

But whenever possible, “I try to do as much processing as I can on the console,” he furthered. “All my de-essing is on the console and I’m using the SSL Stereo Bus Compressors on all my busses. I have a separate master bus with separate processing if we’re live on our broadcast web stream, but that’s the extent of any output complications.”

IHOPKC and Forerunner Church employ over a thousand staff and there is a similar number of students at the IHOP University, which encompasses the Forerunner School of Ministry, Forerunner Music Academy and Forerunner Media Institute. Staff and students are expected to spend at least 25 hours a week in the prayer room.

“Each 24-hour period is divided into 12 two-hour prayer sessions, each led by a full worship team. Basically, there’s a band for every two-hour block,” concluded Kramer. “We elect 14 full-time worship teams and they’ll take about six sets a week. There is literally live music for 24 hours a day, seven days a week.” www.ihopkc.org www.solidstatelogic.com

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NEWS

Alabama church upgrades with ADJ system USA ADJ LED panels and a lighting setup from both ADJ and sister company Elation Professional have been chosen for Daystar Family Church in western Alabama. The growing church hadn’t updated its video and lighting system since moving into its current facility over a decade ago. AVL integrator Narrow Road Pro supplied and installed the new setup.

Founded by Bishop Patrick M Schatzline and Lady Deborah Schatzline, with a congregation of just 50 people, today Daystar Family Church has a congregation of over 1,300. Now pastored by Patrick and Deborah’s son Scott and his wife Kristi, it is a multi-cultural, multi-generational, non-denominational church with praise and worship that is described as energetic and passionate. However, the HOW was being hindered by a lighting system that was outdated and costly. For this reason, Nick Campfield of Narrow Road Pro was brought in to advise on a possible solution.

At the heart of the new video system is a 19-inch videowall that provides the centrepiece of the church’s current stage set. It is constructed from ADJ’s AV6X LED video panels that offer a 1 ⁄4-inch pixel pitch and a brightness of 1,200 nits. The full screen gives the church over 360,000 LED pixels which they use to display song words, video content and ambient graphics.

“I had used the AV6X in the past on a couple of other installs and really like the way it looks as well as its price

set design pieces positioned under the videowall. The church also invested in eight of ADJ’s 280W Vizi Q Wash7 RGBW LED moving head wash fixtures.

“The lead pastor had no idea it would look as good as it did,” confirmed Campfield. “Although the sad thing was that we did this upgrade and then coronavirus hit, so they only had two weeks of people there for services with the new setup before having to go online. But that was actually a blessing, because we had also just point and performance,” enthused Campfield. “I also like the design of the panel – the way it is rigid all the way around – so I knew it would be a good fit for this project. The installation went very well, everything worked right out of the box with no issues.

The volunteer team also picked up on it very quickly – it was easy to teach them how to assemble the wall.”

The signature moving head of the new rig is ADJ’s Vizi BSW 300 hybrid fixture, which is powered by a 300W LED engine and offers an extensive collection of beam-shaping features.

For Daystar’s current set, four of the fixtures are mounted on the truss above the LED wall, while two additional units hang lower down at the sides and a final pair sit directly on the stage. This means that the fixtures surround the screen and frame the central area of the stage.

Six Elation SIXPAR 300 units alternate with the Vizi BSW 300s on

the rear truss above the LED wall and a further nine of these fixtures wash the stage from a front truss, while eight of ADJ’s 12PX Hex fixtures are mounted to a second truss in the middle of the stage. In addition, six of ADJ’s Ultra Hex Bar 6 LED battens are positioned on the floor at the back of the stage, projecting upwards at a 45° angle to create a “wall of light” behind the pastor when he preaches.

Three of the larger Ultra Hex Bar 12 LED battens are then used to light up

upgraded their video system to a nice broadcast setup, with a big fully equipped control room. So that meant they were able to do online really well and I have to say that all of this lighting looks amazing on video – I was very impressed by how good it looks on camera.” www.adj.com www.daystar.me www.elationlighting.com www.narrowroad.pro

Sacred Heart Forane Church provides coverage

INDIA AVkraft has chosen a QSC sound system at Sacred Heart Forane Church, a Syro-Malabar Roman Catholic church situated in

Thiruvambady, Thamarassery, southwest India. The church was established in 1944 following the migration of St Thomas Christians

from the old Syro-Malabar Diocese in central Kerala in 1942. It is designed with a gothic-style architecture and caters to around 750 people on average. After more than six decades, the church recently renovated its altar to offer a better experience for the congregation. The works also saw the installation of a new sound system.

Parish priest Jose Oliakkatil approached AVkraft with a project brief that specified the need for a solution that would complement sermons so they could be heard throughout the sanctuary. The biggest challenge for AVkraft was overcoming the problems posed by two lines of pillars down the length of the church. AVkraft’s technical consultant, Mathew George,

designed a solution that divided the chapel into eight specific zones, two as FOH then three on the left and three on the right. Each zone has a QSC CP12 and K12.2 active speakers. In addition, one CP8 is angled inwards and used as an onstage monitor for the priests at the altar. The audio system also includes the church’s repurposed Yamaha MG24XU digital mixer along with AKG D5s and Sennheiser E845 microphones.

Oliakkatil explained: “Our new sound system is fantastic. Every word can be heard clearly, even from the very edge by the West door as well.” www.qsc.com

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NEWS

Denton Bible Church SeaCoast Grace expands streaming adds inputs with FOR-A USA

Denton Bible Church (DBC) has taken ownership of a new DiGiCo Quantum338 console for FOH and monitor mixing and an SD12 as a broadcast audio console. Based in Texas, DBC’s origins date back to the 1970s when the congregation numbered no more than a dozen

system, as well as its high input capability, made the console the natural choice for DBC’s broadcast needs. “We also included the Optocore AutoRouter on the network, because it takes the consoles’ inherent flexibility and expands it,” he added.

members. AV systems integrator Digital Resources integrated and commissioned the consoles in DBC’s current, 3,500-seat auditorium.

This is DBC’s second purchase in the digital mixing arena. “Their next digital consoles had to be able to continue to provide a lot of I/O and a high degree of

The Optocore AutoRouter automatically discovers devices and adds them to the Optocore loop. When a mobile device is disconnected or powered down, AutoRouter automatically closes the loop with the remaining devices, discovering and switching links to establish redundancy, without any user action.

“That’s a big deal for this church because they rely heavily on volunteers to run their systems,” said Eddleman. “So, for a small event like a wedding or a funeral, they can use only the components of the sound system that they need, such as a single console and SD-Rack, instead of having to turn the entire system on.”

The two new consoles represent a significant shift from the platforms the church had been using, but DBC technical director Preston Fuqua reports that the volunteers are catching on quickly. “With the Quantum338, we can do virtual soundchecks, combining recorded tracks and live instruments simultaneously, which is a great thing for training.

Both consoles have been a dream come true for us. They are our future here now.”

functionality,” explained Digital Resources’ audio sales manager, Lance Eddleman. “Their SD12, for instance, is the latest 96-input model, which gives them plenty of I/O for their broadcasts. And the Quantum338 gives them the high number of faders they wanted, to support their blended traditional and contemporary worship styles, as well as some really advanced features, such as the Spice Rack and Nodal Processing.”

Eddleman adds that the SD12’s small footprint, which allowed it to fit next to the church’s Pro Tools

www.dentonbible.org www.digico.biz

USA SeaCoast Grace Church in Cypress, CA had been using an HVS-490 HANABI video switcher from FOR-A Corporation of America to produce livestreaming coverage of its three weekend services. Due to the current Covid-19 restrictions, however, the non-denominational church is no longer able to welcome its 4,000 congregants every weekend. Instead, SeaCoast produces coverage of one weekend service and has added coverage of classes, meetings and additional worship during the week for various groups within its community.

assigned to ProPresenter systems for lyrics, video playback and backgrounds. Two inputs are used for prayer graphics, and another is assigned to the digital signage displayed in the lobby.

SeaCoast uses the FOR-A switcher’s multiple outputs to send separate signals to the LED videowall, IMAG screens, lobby and the livestream.

Another output provides a fourcamera multiview feed for the shader.

The HVS-490 is the centrepiece in the church’s control room, with dedicated areas for editing, video

The 2 M/E switcher is normally used to produce two simultaneous productions. The first provides coverage for the two IMAG screens in the 2,000-seat main auditorium, as well as the streaming feed. The second provides a separate feed for the 1920x1080 LED videowall used as a backdrop for singers and musicians.

SeaCoast currently holds its Saturday night service in an empty auditorium, which is streamed live, recorded onsite and converted to an MP4 file, to be replayed twice on Sunday morning.

SeaCoast streams these services on its website, YouTube and Facebook.

Prior to the lockdown, the church attracted about 400 viewers weekly with its online services, but now has more than 3,000 each week.

“People appreciate what we’re doing,” commented Eric Benson, technical director. “Our goal is to get back to producing three live services every weekend but, for now, we’re streaming live content five nights a week.”

SeaCoast has nine inputs dedicated to cameras, while three inputs are

playback and digital signage. Its builtin multiview populates the control room’s 60-inch monitor, as well as a separate reference monitor.

“Everything is laid out so well on the controller,” noted Benson, “so everything is pretty much at your fingertips. It’s even simplified what used to be a rather complicated process of creating a countdown before the service begins. In fact, it’s so easy that we haven’t had to program macros.”

“The FOR-A HVS-490 is helping us adapt to the restrictions required by the Covid-19 shutdown by providing a simple and reliable way to switch live productions beyond standard worship services,” said David Morris, FOR-A western regional sales manager. “It has plenty of inputs, so special events don’t create production headaches, and plenty of outputs, so they don’t need to rely on a separate router to manage multiple feeds.” www.for-a.com www.scgchurch.org

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NEWS

Sint Niklaaskerk redesigns after fire BELGIUM Bose Panaray MA12EX loudspeakers have been installed at Sint Niklaaskerk as part of a complete redesign following a devastating fire in 2013. The fire began on the roof where work was being completed and then spread to the tower, which subsequently collapsed. The interior was completely destroyed except for the tabernacle and only the walls remained standing.

After six years of careful planning and hard work, the church was ready to reopen with a completely redesigned and more modern space.

The architects chose to design an integrated concept of two separate

parts (a sacred space and an event hall), which can be combined whenever needed for larger worship services.

The sacred space is smaller than it was before, with seating now spread wider horizontally, instead of the typical longer, narrow space. As a result, Brugge-based integrator Deltavox Projects chose four separate Panaray MA12EX loudspeakers.

The event hall needed to be equipped for live music, so here Deltavox Projects specified RoomMatch modules, combined with a RoomMatch sub and RoomMatch utility loudspeakers. pro.bose.com

Streaming ups the visual bar for Eastview Christian Church

USA As video has become an increasingly important aspect for Illinois-based Eastview Christian Church’s weekly services, it recently made the decision to purchase five SK-HD1800 cameras from Hitachi Kokusai to replace existing models that had reached the end of their lifetime. The church typically hosts over 6,000 weekly worshippers across two physical campuses – its main location in Normal, Illinois and a second site in Bloomington. The resulting improvements have proven even more valuable as Covid-19 gathering restrictions drive online attendance to levels far beyond their own congregation. The new equipment was supplied by systems integrator, Force Technology Solutions.

“We had been running a mix of four or five professional-class cameras

and smaller camcorders but only had CCUs and remote control on two of them, which made it challenging to dial them all in and rely on operators for iris and shading,” explained Andy McGirr, associate pastor of technical arts at Eastview Christian Church.

“There was also a growing realisation of the importance of what’s being viewed online to the overall ministry of our church, and the significance of delivering high-quality streaming experiences.”

While Eastview started livestreaming services later than many other churches, the organic growth of its online audience over the past three years made it an intrinsic part of its ministry, even prior to the pandemic.

“As the numbers grew, so too did the respect for the role streaming plays,” McGirr furthered. “We hired

an online campus pastor and have really embraced the fact that there are many people who watch our services online, not because they can’t attend in person, but because it’s their preferred way to attend church. That was one of the key drivers of our purchase of the Hitachi cameras.”

The same appreciation for the importance of video quality also extends to IMAG in the church’s 2,600seat main auditorium. “Even though a few thousand people normally sit in our auditorium to attend the services each week, I believe most of them are watching and engaged through our 6.5m and 4.2m projection screens the majority of the time, instead of looking directly at the stage.”

McGirr set out to purchase five broadcast-class cameras with 2 ⁄3-inch sensors and global shutter technology, the latter to minimise the visual artefacts often encountered when shooting LED lighting and displays with rolling-shutter cameras.

“All of the major broadcast camera manufacturers offer great products overall, so for me it was a matter of which had extras that matter to me, wouldn’t cost me an arm and a leg, and would give me great service and support,” he said.

“I liked Hitachi Kokusai from day one because of their partnership with Ross Video and integrated DashBoard control, and, after meeting their team at the NAB

show, I felt like they were the right company for our needs.”

Three of the SK-HD1800s are stationed on Miller tripods in fixed positions, while one is operated handheld and the fifth is deployed on a 5m JonyJib2. Shading and iris adjustments are handled from the control room through Ross DashBoard or Hitachi RU-1000VR remote control panels, freeing the volunteer camera operators to concentrate on shooting.

“The difference from our old cameras was very noticeable in our final product,” said McGirr. “The image was just fantastic, including richer colours and deeper blacks.”

The church saw its weekly online streaming audience soar to over 10,000 during the lockdown period, greatly exceeding its usual total attendance. “Our guess is that other small churches in the area were not set up for streaming, so people are attending our services in their place.

We were fortunate to already have a robust streaming workflow in place.”

Even once life begins to return closer to normal, McGirr sees his satisfaction with the SK-HD1800s as long term. “I would buy Hitachi cameras again in a heartbeat,” he concluded. “We’ve got great camera systems for a really good price and I have complete confidence that we will be supported well throughout the life of the cameras.” www.hitachikokusai.com

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NEWS

Maltese Christian radio station renews its technical equipment MALTA With the aim of attracting a younger audience, RTK 103FM has enlisted the help of DAB Electronica to update its technical infrastructure and studios with systems from AEQ. The radio station, whose aim is to shed Christian light on everyday life through news, religious programmes and general format entertainment shows, is part of RTK Ltd, the media company of the Catholic Church in Malta.

DAB Electronica and its team led

by Alan Gatt decided on an entirely audio-over-IP based system, except for the local inputs and outputs in terms of microphones, headphones and monitoring. Through Exhibo in Italy, two auto-control operated studios were installed with AEQ Forum Split IP consoles as the central part of the installation. Both consoles are 12-fader versions. Studio One is a main or DJ mic and three guest setup, while Studio Two allows for the anchor

video clip, transition or sequence available on the BroadcastPix switcher.

Content from both studios can be

recorded or livestreamed using three JVC HD PTZ cameras that follow the invited guests or DJ.

For outside broadcasting, RTK and DAB chose an AEQ Phoenix ALIO portable codec and mixer. Connectivity is handled by a Phoenix Venus 3 with AoIP networking connectivity to reduce cabling to the rack room and the primary and secondary network switches. A ControlPhoenix application allows the technician in the studio to control both the local and remote codecs to assist the DJ with the OB operation.

DAB is also the local Sennheiser distributor in Malta and specified MK4 condenser mics and HM300 headphones as part of the upgrade. www.aeq.eu

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or DJ to host up to six guests with seven mic inputs in total.

Either studio can be controlled from either console thanks to the possibility of sharing all the stations’ audio resources over the AoIP network. To make antennae, studio and playout systems switching simpler and automated, a NetBox32 MX with RTC option was installed, providing a 64x64 non-blocking routing matrix for AoIP, analogue and digital audio sources. The unit is used for format conversion, allowing any analogue or digital source to become part of the AoIP multichannel network.

RTK’s wish to reach a younger audience led to the installation of visual radio in both studios. DAB chose BroadcastPix video switchers which integrate easily with AEQ’s AoIP equipment. Now, any channel or audio source can trigger a camera setting,

The all new CS-Series is a powered, intelligent loudspeaker platform, with on-board Class D amplification and DSP, plus Milan-ready AVB connectivity. This is Adamson’s legendary sound, evolved for the networked future of professional audio.

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NEWS

Christ Church steps up to dLive USA Having struggled with a limited track count, low processing power and a lack of sound and build quality in its previous FOH console, Christ Church in Gilbert, Arizona, has switched brands and chosen an Allen & Heath dLive digital mixing system and ME personal mixing system.

With the assistance of area technical consultant David Ericksson of Church-Technologies, the multi-congregational church has purchased a dLive S7000 console, CDM48 MixRack, a quartet of ME personal mixers and a 10-port ME-U PoE monitor hub. The system design allows backline musicians to tailor their own in-ear mixes, while frontline vocalist monitor needs are simultaneously handled from the FOH dLive console position.

“We’ve been growing so quickly and our tech requirements have really increased lately. I was definitely feeling

the pressure to move forward with a more powerful console,” said Christ Church’s production director, Corey

The dLive S7000 console

Wilson. “Not only a desk with more channels, but with the versatility to send out multiple feeds for broadcast and work well with both internal and external effects.

“We had already heard about Allen & Heath’s dLive series consoles through another church as they raved about how great these consoles were and how easily even volunteers could learn it. After further consulting with other users of the dLive, it was clear this would fit us best and give us the ability to grow with the system as our ministry continues to grow. This has been the best live mixing console I’ve ever used – quick and easy to set up and the on-board FX and preamps are out of this world.” www.allen-heath.com

Abundant coverage within Bay of Plenty church NEW ZEALAND Spending almost two years relocating, Tauranga Elim Church is now elevating worship services and other events with an upgraded JBL loudspeaker system. Located in New Zealand’s Bay of Plenty, the church’s new location is much larger than the previous building and includes an auditorium for accommodating up to 550 congregants.

“As a church, we were blessed to have the opportunity to develop the shell of an industrial building into an awesome place of worship that speaks to the flavour and character of our people,” explained Tauranga Elim AV coordinator, Sean Verwey. “For the audio system in our auditorium, our requirements were simple – we wanted a system that sounded great, was punchy yet smooth through the dynamic range of a service, suited our style of music, covered the wide space evenly and overcame the challenging acoustics of the venue.”

After experimenting with various speakers from different manufacturers, Tauranga Elim outfitted the auditorium with two JBL CBT1000 loudspeakers. Supplied by Sound and Vision Connection and custom-flown in a left-right configuration, the line array column enclosures incorporate JBL’s Constant Beamwidth Technology, which provides adjustable vertical

coverage and a tapered horizontal waveguide to deliver consistent sound across the auditorium. A JBL CBT 70J-1 two-way line array column loudspeaker was added to ensure even audio distribution on the auditorium’s mezzanine level.

“During the demonstrations, we heard some great systems.

Ultimately, we felt what Harman and JBL Professional offered met our requirements perfectly,” furthered Verwey. “The JBL CBT1000 loudspeakers sound simply amazing and provide more than enough grunt for youth services and special events yet are easy to mix during a regular Sunday service.” Complementing the column loudspeakers with accurate, low-frequency performance, the system includes a JBL VT4883 subcompact dual 12-inch subwoofer flown low-mid extension. Groundstacked under the stage, a VTX G28 dual 18-inch ground subwoofer enhances the low-end down to 22Hz (–10dB) for contemporary music worship services. Crown I-Tech 3500HD and CDi 4|300 four-channel amplifiers provide ample power in addition to loudspeaker processing for the entire system.

“The JBL CBT1000 line array column loudspeaker is a perfect solution for customers looking for line array loudspeakers but with budget limitations,” commented

Harman church audio specialist Eli Murray from JBL Professional distributor JPRO. “Its consistency in tone from soft levels to loud levels, how it overcomes tricky acoustic spaces and its ability to cover audio

over wide and long distances make it an asset for church and auditorium environments today.” www.pro.harman.com www.taurangaelim.nz

Aerial view of FOH

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NEWS

Fila Church puts on a show with Supernova FINLAND Located in the vibrant downtown area of Helsinki, Fila Church has a stage with modern light and sound equipment – and a big screen so everyone in the church can enjoy the show. Due to the bright stage light, the projection screen often struggled to display high-quality images. Fila Church turned to Valkokangasnet Oy, a specialist in Ambient Light Rejecting (ALR) displays, for advice.

“Fila wanted help finding the solution that provided best value for money and could meet three basic requirements: large image size, high resolution and the ability to reject high levels of stage light during concerts and events,” says CEO, Tapio Touru. “In such a case, LED is an obvious, but also expensive, solution.

Fortunately, there are alternatives that provide near-LED contrast at a more

church: 60 lux on the screen and 300 lux on the floor in front of the stage. Based on these light levels, it was able to calculate the screen contrast and projector brightness for a display in this specific environment. As a result, a dnp Supernova was chosen to deliver the required contrast and black levels.

“Seeing is believing. As the final step, we conducted a live demo so that the customer could see the actual difference between a traditional screen and a dnp Supernova display.

The difference was striking and, although the dnp screen was more expensive, there was no doubt that the quality difference was too impressive to be ignored,” explained Touru. attractive price: optical ALR projection screens with built-in contrast filters.”

Valkokangasnet Oy began by measuring the light levels in the

www.dnp-screens.com

Redeemer Church finds more space with Visionary Solutions

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USA Tulsa’s Redeemer Church, located close to the banks of the Arkansas River, moved to its current site several years ago and has been renovating it to serve the needs of its congregation. The project has included a major upgrade in the church’s Redeemer Hall to combine the halls and four classrooms, as well as an additional children’s wing.

Audio, video and control systems were reworked, including bringing in audio and video feeds from the church’s 800-seat auditorium.

“The auditorium was originally built for a Christian artist who was the worship pastor of the church at the time, and the system actually sounds great,” explained Brent Handy of audiovisual services provider Advanced Sound and Communications. “They’ve been making some changes to the space as time and budget allowed, to make it more their own. This project was originally targeted for some time in the future, but the Covid-19 shutdown enabled them to get in there and do all the work at once, so they took advantage of the opportunity.”

The main Redeemer Hall can be divided into three smaller halls. The children’s wing also has two large

spaces, with air walls for combining them. “They already had a Core 510 in place for the main system,” added Handy. “We installed a Core 110F to run the rest of the building. There is enough processing power to accommodate full redundancy.”

Multiple Visionary Solutions PocketAV Duet encoder/decoder pairs bring video content to multiple screens within the hall, classrooms

The children’s wing can be divided into two rooms

The check-in area and check-in areas. Each room is equipped with PacketAV wall plate encoders, providing Dante/AES67 connectivity for UHD video, control and PoE, enabling congregants and presenters to connect computers, phones and other devices and route

to anywhere in the facility. Additional encoders live in an equipment rack, receiving signal from a local computer and the auditorium.

“The Visionary Solutions team were great to work with,” Handy enthused. “We didn’t really need a

ton of support, because the system was easy to implement. But they were always available and really responsive any time we had any questions.”

Handy believes the new system has vastly improved and dramatically simplified the AV system. “Their previous system was overly complex, and required literally racks of equipment,” he concluded.

“By expanding the Q-Sys-based network and implementing Visionary Solutions technology for their AV distribution, we were able to reduce the amount of rack space by a third, and create a system that was not only more streamlined, but far more user-friendly, even for the most non-technical members of the congregation.” www.vsicam.com

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NEWS

LCBC Church takes comfort to the next level USA When DPA Microphones released a pro audio headset microphone measuring just 3mm in diameter, LCBC Church became one of the first HOWs to purchase the 6066 Core Subminiature Headset. LCBC is an evangelical megachurch with 14 campuses through central Pennsylvania and is described as one of the largest and most wellknown churches in America.

“Our teaching team has been using DPA’s 4066 headset mics for years,” said Sean McDermott, production director, LCBC Church.

“We have always appreciated the audio quality and reliability of that solution. When DPA introduced the 6066, we knew it was an obvious upgrade that would provide a more comfortable experience for our communicators, the classic natural DPA sound and an improved look for our broadcasts.”

At full capacity, LCBC averages

an attendance of 16,000, while its online audience is continuing

solutions that never compromise on sound quality.

Teaching Pastor Jason Mitchell to grow. The church felt that it was of upmost importance to mic its communicators with discreet

“There are no other headset mics out there that offer the same benefits as the 6066,” added

McDermott. “Our communicators really appreciate the redesigned ear grips and cable management, and our video team loves how the smaller element blends in on camera. The new locking boom also ensures that the mic element is in the right place, every time.

In addition, the replaceable cable is a must for headset mics. Our teaching pastors almost forget they are wearing the headset mic because it is so comfortable.”

The congregation has been impressed with the quality of the 6066 Core mics as well. “In church production, when we don’t receive negative comments about the mics, we view that as a win,” explained McDermott. “Upgrading to the 6066 was a seamless transition; everyone is happy with them and they sound great.” www.dpamicrophones.com

Electro-Voice and Dynacord cover every corner

UK All Saints Church in Crowborough, East Sussex, has invested in ElectroVoice EVA (expandable vertical array) loudspeakers driven by Dynacord IPX series amplifiers as part of an upgrade to its sound system.

Designed and supplied by Ashdown Audio Visual, the new setup provides the church’s 600-strong congregation and musicians with

much-needed clarity of sound during its services. “When the EV system went in, it sounded so natural, straight out of the box,” commented Mark Willetts, senior engineer, Ashdown Audio Visual. “We didn’t even have to process it at first and it just sounded fantastic.”

Featuring two EVA 2082S-906 line array modules for even coverage

across the length of the room, EVA 2151D subwoofers and ZX1i loudspeakers for in fill and as a monitor system for the choir, the setup provides clear and even sound quality for the congregation, speakers and musicians. Dynacord IPX series amplifiers drive the system, with an IPX10:4 powering the tops and subs and an IPX5:4 looking after the fills

and monitors. Dynacord’s Sonicue sound system software was used to tune the solution.

While sound quality was the main priority, the aesthetics of the new system were also important.

Therefore, a white version of the EVA loudspeakers were chosen to blend into the existing architecture. “When we look at a project like this, we take into consideration the architectural surroundings,” explained Arthur Archard, sales consultant, ElectroVoice and Dynacord. “We consider what would fit not only acoustically, but also visually.”

The result is one that the church is more than happy with. “I’m a preacher, and I believe that what I say has got to be heard,” concluded Steve Reece, vicar at All Saints Church. “Thanks to the new sound system, the congregation can finally hear that message. It’s made a massive difference. We want people to be able to see, and hear, really clearly – it’s fundamental to what we do every Sunday.” www.ashdownav.com www.dynacord.com www.electrovoice.com

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NEWS

Rea Sound kits out First Bangor Presbyterian Church IRELAND First Bangor Presbyterian Church in Northern Ireland has been a Presbyterian meeting house since early Victorian times. In need of a modern and all-encompassing AV and lighting solution, church manager George Monaghan turned to nearby systems integrator Rea Sound. Rea Sound was surprised both by the high level of organisation, how specific the church was with its requirement and how realistic it was with the large budget that would be needed to achieve what it wanted.

“In addition to a new sound system, they wanted full AV and lighting as well,” stated Rea Sound project manager, Roger McMullan. In view of the dimensions of the 700-seat

facility, with a balcony, and pulpit set in a semi-circle, a Martin Audio CDD system was specified, which met the requirement for a distributed sound system. “The client wanted absolute clarity at every seat,” furthered McMullan. “Previously, they had speakers everywhere, but they simply didn’t work and needed to be ripped out.”

One of five companies approached, Rea Sound responded successfully to a high-budget tender that included HD cameras, projection screens, 40-inch x 60-inch Sony LCD panels and control equipment for picture-in-picture and livestreaming.

With regard to the audio, “no-one else could show what the equipment

The cluster of three CDD10 speakers would achieve,” commented McMullan. “I explained that the Martin Audio CDDs we were proposing would guarantee speech clarity, cater for a live band and provide full intelligibility in every seat. In the end, we never needed to conduct a demo, they simply went with us.”

The main system comprises a cluster of three CDD10 speakers, using four CDD6s facing out to the wings – two per side – and eight further CDD6s fixed to the balcony underside using the purpose-designed ceiling brackets and delayed to the main system.

Directly beneath the CDD10 cluster are a pair of Blackline X210 subwoofers, recessed under the platform. The passive speakers are powered by an external process-controlled Martin Audio iKON iK8 eight-channel amplifier.

At the same time, the integrators have doubled the size of the mixing position by removing two rows of seating and provided the church with a new Allen & Heath SQ-6 digital mixer.

“This was a per fect project,” concluded McMullan. “The new installation has also allowed the church to be used as a conference facility which wasn’t possible before. So, it’s given them a further option.”

George Monaghan added: “The whole project went really well with Roger and his team, and ended up fantastically successful. The audio quality throughout the entire church is great.” www.firstbangor.org www.martin-audio.com

Taylor Church creates an Event USA Taylor Church has added speakers from DAS Audio’s Event Series catalogue to provide its parishioners with a meaningful worship experience.

The Jacksonville, Florida-based interdenominational, full gospel, Pentecostal church called on BDH Technical Systems to design and deploy the new sound system, incorporating Event-208AW three-way powered line array enclosures mated with Event-218A sub-bass units.

“Taylor Church offers a unique blend of both contemporary and traditional worship,” explained Craig Bruce, a partner at BDH Technical Systems who also serves as the company’s primary systems designer. “For the most part, services are contemporary and include the use of a sizeable praise band that is supported by an eight-member vocal team. The sanctuary itself has

a good-sized stage area facing the congregation, which is accommodated by fixed seating.”

The new system consists of three line array clusters for a total of nine Event-208AW loudspeakers, flown

in an L-C-R configuration at a height of 4.3m, with each hang comprising three boxes. For low-frequency support, the three clusters are augmented by a pair of Event-218A powered subwoofers, which are

positioned onstage at the left and right sides.

“Given the very limited height we had to work with, we needed a compact, full-range loudspeaker enclosure that could deliver the required SPL,” continued Bruce. “The sanctuary is quite wide, so we realised early on that a centre hang would be required. We liked the self-powered nature of the Event-208AW, as there was no space for a separate amp room. Pastor Mark Woods has been very complimentary of the system’s high level of speech intelligibility and its full, rich sound for music reproduction – with the result being that the congregation is more engaged than previously.” www.bdhtechnicalsystems.com www.dasaudio.com www.taylorchurchministries.com

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GLP becomes the go-to solution for CCV USA Christ’s Church of the Valley (CCV) has recently invested in a sizeable quantity of moving light fixtures from German manufacturer GLP. The new equipment, which includes S350 and E350 moving head profiles for key light purposes and X4 Bar 20 battens as part of a long-term rental package, has been installed at the church’s Peoria broadcast campus by Las Vegas-based integrator, 4Wall.

With its main base located in Phoenix, Arizona, CCV is spread out across multiple locations throughout Arizona. It purchased the Peoria campus in 2000 and, four years later, opened a 3,500-seat auditorium at the site.

In addition to the installation of new fixtures at Peoria, CCV has also added 10 GLP E350 moving heads for its newly opened Verrado campus.

The E350 is the bigger and brighter brother to the S350 and offers a very narrow iris. According to CCV’s production designer Trevor Rigsby, all new campus auditoriums will henceforth have a package of E350s as their go-to moving spot solution,

with the quantities in each case defined by the size of the stages and auditoriums.

“The first GLP fixture I ever used on a stage was the Volkslicht,” Rigsby recalled. “I loved that light and used it frequently.” Of the recent acquisitions, the S350s were earmarked to replace the old traditional discharge light

package and were purchased from Phoenix-based Clearwing Productions, the church’s regular local supplier.

“There were several factors I was looking for that led me to the S350,”

furthered Rigsby. “We wanted LED, as we are no longer purchasing discharge moving lights for any of our rooms, in order to cut down on maintenance costs. Secondly, the

fixtures needed to be small and compact. I wanted to have them hang as low as possible under the catwalks without obstructing the side screens.

We were able to rig truss under the catwalks, about 1.5m lower than the current hanging positions, to hang these fixtures from.”

Rigsby is equally effusive about the X4 Bar 20s, which make up the core of his new rental package for the church. “We just love them,” he exclaimed. “I wanted to have some clean straight lines of light so I looked at bringing in X4s for the current stage so that I would have the flexibility of zoom and tilt as well.

“I am always blown away by the features and quality that GLP fits into their products and, while the equipment speaks for itself, what I will always value over that is the people. I am so careful in choosing the brands and vendors I work with, and every interaction with GLP makes me feel really cared for, not just as a customer but as a fellow designer.” www.glp.de

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New Creation Church moves online Both the sermon and ministries at the New Creation Church of Tallahassee in Florida are now being livestreamed each week

Creating online content NEW CREATION CHURCH HAS moved services online in the face of pandemic restrictions limiting large gatherings. In order to make the transition, the ministry’s technical producer, Vaughn Wilson, has been relying on CEntrance’s MixerFace R4B to simplify his livestreaming setup, while still creating professional-level audio.

Producing a typical service for New Creation Church now involves recording the praise and musical aspects separately in advance, before combining everything together in an Open Broadcasting Software (OBS) livestream.

The HOW had no previous experience of creating online content.

“The church was not broadcasting at all,” explains Wilson. “The pandemic forced the leadership to make a quick decision and they decided to go with whatever I suggested. I had heard about MixerFace through my friend George Clinton. He had befriended Michael Goodman, CEntrance’s founder, and was unsure about the device he had heard about. Michael sent George and me MixerFace R4R units to demo and I fell in love with the sound and flexibility instantly.”

The MixerFace R4 is a four-input portable audio mixer and recorder with a built-in streaming interface.

The R4B model used by Wilson

Pastor Michael Smith

CEntrance’s MixerFace R4B with Blackmagic’s Web Presenter to create New Creation’s streams includes a built-in SD card recorder and stereo XY mics. “I use the same setup when working at the church,” says Wilson, “with the exception that the MixerFace model there does not have microSD recording.”

The portable setup devised by Wilson has been fine-tuned to an art.

The entire production and stream can be created using a 16-inch Apple MacBook Pro running OBS. Visuals are captured via Canon EOS R DSLR cameras and an Atomos 7-inch 4K monitor/recorder before being passed to a Blackmagic Web Presenter that

turns the HDMI camera feeds into a USB webcam feed capable of being streamed by OBS. For lighting, three-ring Neewer LED video lights at Wilson’s home and six Neewer LED panels at the church create the right onscreen ambience. Audio is handled by the MixerFace R4 drawing sources from CEntrance stereo Pivot mics and monitored by Wilson on CEntrance Cerene headphones.

A special clamp attaches to the MixerFace screw connector then to an off-screen mic stand with stereo mics to capture the voice of Pastor Michael Smith. Aux inputs 3 and 4 on MixerFace are used to mix in music, fed from another computer, underneath the pastor’s sermon.

This is then output using the mixer’s direct line out to the Blackmagic Web Presenter box and combined with the video feed before being sent onto the OBS. The OBS software uses a stream key that is generated from YouTube, allowing the stream to be sent directly to the church’s channel. Parishioners can then tune in on their smart TVs in real time or later using YouTube.

“I love everything about the MixerFace,” Wilson says. “Lately, I have been positioning it in the ‘boom’ position, by attaching it directly to the end of a boom pole. With the microSD recorder built in, it eliminates the need for any cord to be connected. I can

record the audio and video separately if desired and combine them seamlessly in Final Cut Pro X and Premier. Typically, while livestreaming, I simultaneously record the audio on the built-in recorder at 24-bit/48K and then, afterwards, email an MP3 of the sermon to the pastor.

“Recently, I got into a tight situation where I needed a quick voiceover,” the technical producer continues. “I put the pop filter on the MixerFace and had the talent knock out the voiceover in 10 minutes flat. Furthermore, it eliminates an additional conversion unit into my system. I love my Blackmagic switcher/streamer, but there are no external audio controls on it to adjust sound. The MixerFace has easily accessible controls, which are critical when recording live content.”

The move online has been so successful, that even once social gatherings resume unhindered, Wilson predicts the online streams are here stay. “We don’t foresee stopping the streams,” he concludes. “We expect that some folks may never return to our sanctuary even post-Covid, and so we are preparing to upgrade our video equipment to further expand our broadcast offerings.” www.centrance.com www.newcreationtlh.org

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PROJECTS

Rock Bridge Community Church’s flagship worship site is Dalton, Georgia’s historic Wink Theatre

Wink Theatre’s new left and right arrays

The 1,165-seat Wink Theatre

M1 routes A15 extensions across Rock Bridge L-Acoustics A Series speakers help five church locations in Northwest Georgia create continuity in their services PRACTISING A CONTEMPORARY worship-style, Rock Bridge Community Church has grown rapidly from a core team of 25 adults to 50,000+ congregants in just under two decades. Split between five campus locations in Northwest Georgia – Calhoun, Chatsworth, Ringgold, and Dalton’s Stage 123 and the historic 1,165seat Wink Theatre – each venue is equipped with L-Acoustics A Series constant curvature line source systems. Oklahoma City-based integrator, Skylark Audio Video, designed and installed the PA for all five worship spaces that sound nearly identical. The adoption of the French manufacturer’s new M1 measurement tool suite

helps maintain consistent audio characteristics in each campus.

“The A Series is a very cohesive system,” explains Skylark Audio Video’s Steele Beaty. “The Wide boxes have a 30° vertical pattern and the Focus has a 10° vertical pattern. Between them, we have the tools we need to fill a challenging venue like the Wink Theatre, where the balcony is 32m in length, and the main floor is 29m long, but the entire venue is only 17m in width.

It’s the very definition of a ‘shotgun’ room and that’s why we chose to fly left and right arrays of five A15 Focus enclosures over one A15 Wide. Plus, the A15 enclosures have the Panflex adjustable waveguides that let us narrow the pattern

“In addition to offering the best sonic performance and most flexible pattern control, the A Series speakers were a perfect fit” width to 70°, which also gives us a +2dB boost in the high frequencies.

So not only do we avoid getting any energy on the walls, but we accomplish it without using any DSP. A traditional line source array

simply can’t do what we were able to accomplish at the Wink with the L-Acoustics A Series medium-throw line source array.”

Purchased in 2004, the Wink Theatre location is a landmark building that first opened in 1941 as a movie theatre. Rock Bridge Community Church director of strategic initiatives John David Boreing describes the particular challenges they were faced with prior to the audio upgrade. “The large balcony was the really difficult part,” explains Boreing, whose portfolio at the church includes facilities and production. “With the previous sound system, the balcony was looking at the top of the line array and didn’t get any low end from the

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PROJECTS floor-mounted subs. It was a tough room to get proper coverage for.

The new A15-KS21 combo fixed that immediately.”

In addition to offering the best sonic performance and most flexible pattern control, the A Series speakers were a perfect fit in other ways. Beaty points out that the nearly 80-year-old Wink Theatre is constructed like many venues of its time, with a narrow footprint and many tightly turning stairs. “It was impossible to get a modern lift in an older venue like this and the ceiling isn’t structured. Therefore, the reduced weight and compact form factor of the A Series helped us in an older venue like this to get it in and suspended.”

The design of the Wink Theatre installation was conducted using Soundvision modelling software – or M1 suite – which includes a comprehensive set of measurement tools. “We were able to measure the performance of all of the A15 speaker systems in one venue and create a consistent contour that we applied to all of the church’s locations,” furthers Beaty. “We were able to make them sound as identical to each other as humanly possible.”

Sonic consistency across the church’s venues was equally as important. “The A Series sounds amazing in every place we have it,”

selecting timing and EQ parameters for optimal room average. The effects of any move on any location – individually or as an average – can be

Skylark’s Steele Beaty performs system calibration at the Wink Theatre adds Boreing. “Each church location strives to deliver a consistent message and having L-Acoustics in most of our venues helps communicate that.”

One of the major benefits of the M1 platform is that it is a force multiplier.

With a single microphone, users can measure all relevant systems at multiple locations in the room, before

detected. The ability to analyse such data is crucial in creating consistency not only in the measured room but also from venue to venue for system homogeneity.

With the combination of A15 Wide and Focus and the flown subs, Boreing reports that the sound quality is excellent. “Now that the pandemic restrictions have finally

been relaxed a bit on worship services, everyone is really enjoying the new sound at the Wink Theatre,” he furthers. “Intelligibility is fantastic and, like a concert, the music has a real impact.”

Installed in 2016, the Chatsworth campus was Rock Bridge’s first location to adopt an L-Acoustics PA with a precursor to the current A Series – an ARCS WiFo system.

This summer, the Wink Theatre site integrated a new L-R system comprising six A15s per side: five Focus over one Wide. The A15s are flanked by two adjacent hangs of three KS21 subs per side and two A10 speakers per hang are placed left and right as delay arrays for the balcony. Only a block away, the Wink Theatre’s sibling venue, Stage 123, recently took delivery of an L-R system of three A10 cabinets per side and two centre-hung KS21 subs, while the Ringgold and Calhoun campuses similarly now have A15based systems. All five locations rely on L-Acoustics LA4X amplified controllers for their combined power and DSP requirements. www.l-acoustics.com www.rockbridge.cc www.skylarkav.com

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PROJECTS

The 20m-high sanctuary posed a challenge

The rebuilt St Patrick’s Cathedral

The bigger they come Following a destructive typhoon, the rebuilt St Patrick’s Cathedral in Bunbury has resolved its poor intelligibility, reports Richard Lawn SAT ALOFT THE CITY’S TALLEST HILL, St Patrick’s Cathedral has dominated the Bunbury skyline since the first stone was laid in 1919. However, that lofty height contributed to its downfall as an Indian Ocean typhoon swept into Western Australia in May 2005.

Badly destroyed, the cathedral was demolished before being replaced by an impressive brick structure that was dedicated in March 2011. As part of the refit, a beam-steered audio solution was favoured to mitigate reverberation created from the abundant glazing and concrete within the 20m-high sanctuary. However, what appears optimal in a simulation, does not necessarily work in the real world over time.

“It would not be right to highlight the loudspeakers as the sole source of poor intelligibility,” comments parish manager at Bunbury Catholic Diocese, Ian Lewis. “Spoken word is paramount, but we are also blessed with a choir, keyboard player and organist. In addition, we also play gentle choral and other background music during the day and during confession. There is a natural reverberation time of 3s in the room and it’s hard to control. In addition, the analogue playback controls were often adjusted by various personnel and these were never reset correctly.”

Perth-based Pro AV Solutions was called upon to design and install

The CDD cabinets are flexibly orientated and rotated a digital audio system that would enhance both the spoken word intelligibility and the BGM audio functionality of the main sanctuary.

“Having successfully completed the AV works at Geraldton’s St Francis Xavier Cathedral, we were confident that we could deliver the solution required for the St Patrick’s Cathedral project,” commented Pro AV Solutions’ WA MD, Steve Travia. “For this project, we planned to replace the existing column arrays with Martin Audio point source loudspeakers.

To better cater for the cathedral’s ease-of-use requirements, we added a Crestron control system.”

An audio patching system was installed to connect the various microphone points dispersed on various levels throughout the cathedral. In the digital domain, a

Q-Sys Core 110f is connected to a Cisco SG250-20 network switch. With its eight inputs and eight outputs, the Q-Sys Core was configured by Pro AV, with all the DSP functionality and settings stored within the processor’s

software. The card-based DSP solution integrates eight Flex I/O channels, offering greater functionality with Layer 3 routing and SNMP monitoring.

“An EASE model of the cathedral was created during the design phase of the project and consultation undertaken with an acoustician,” furthers Travia. Both the acoustically reflective nature of the space and the requirement to deliver audio to the lower and upper levels made the configuration of the audio system a challenge. Eventually, we determined that a Martin Audio point source audio design would be most appropriate and would provide better benefits than a line array configuration.”

Serving the upper gallery and downstairs nave, a distributed

Serving as monitors, two QSC self-powered K10 cabinets are located under the pews on the front platform

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PROJECTS loudspeaker system consisting of respective Martin Audio CDD8 and CDD12 two-way enclosures have been affixed to the divide between the central apex and lower ceiling height side pews. Favoured for their inherent coaxial differential dispersion driver technology allowing the cabinets to be easily rotated and orientated horizontally or vertically, Pro AV Solutions has positioned each CDD8 and CDD12 towards the congregation and away from hard surfaces. The CDD driver point source summation of the LF and HF sections successfully eliminates off-axis variations in frequency response. The entire upgrade was conducted between Sunday masses in October 2019.

While a digital, point source upgrade has significantly improved the audio qualities, the new distributed audio system relies upon the same amplifier originally installed in 2010. The 10 CDD speakers draw their current from a single pre-existing Lab.gruppen C 10:8X eight-channel 1,000W amplifier. Serving as monitors, two QSC self-powered K10 cabinets are located under the pews on the front platform, while a third is located in the gallery as a keyboard monitor.

The AV and lighting parameters of the room are managed and

ity

For readings and sermons from the main pulpit, a pre-existing Shure Microflex gooseneck continues to serve with distinction. In addition, the cathedral draws upon five Shure SLX microphone channels for its wireless needs, while the choir continues to use the KSM109 condensers that were acquired in 2010. For

14 original biblical paintings by Australian artist, Robert Juniper. In addition, the original crucifix was rescued from the remnants of the destructive typhoon and is exhibited within the cathedral precinct.

Welcome reminders of the impressive structure that was flattened on that fateful May Day in 2005. Rather

A third K10 is used as a keyboard monitor on the balcony controlled from a 17-inch rackmounted touchscreen connected to the Crestron Control CP3 processor, which hosts all the VGA, HDMI and audio inputs. “Only one other colleague and myself can access the AV parameters of this digital system as it is passcode-protected.

If we need assistance, there is a technical page we can refer to but, overall, it is very user-friendly.” The simple setup allows Lewis to change the BGM setting or the service setup between choral, confessional or prayer.

KSM109 electret condenser microphones used by the choir predate the typhoon assistive listening requirements, an Ampetronic ILD1000G amplifier connects the perimeter induction loop system.

Now adorning the north and south walls as large windows, Melbournebased Digiglass recreated the

than distract the congregants, the upgraded audio system creates the perfect ambience at the swipe of a touchscreen. www.bunburyparish.org www.proav.com.au

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PROJECTS

A leap forward Diversified guides one of the world’s best-known cathedrals through an analogue to full HD-capable transition, shares Brian Galante WORSHIP FACILITIES OF ALL FAITHS and sizes are breaking new ground with technology in an effort to reach congregants. While most of these Covid-era efforts emphasise streaming infrastructure, others are taking time to modernise AV and broadcast systems inside the sanctuary. The famous Washington National Cathedral in the heart of Washington DC is among those doing both.

The sixth largest cathedral in the world, Washington National Cathedral’s location and stunning neo-Gothic architecture offers an inviting atmosphere for worship services, visitor tours and special events. In addition to privately booked events, the cathedral has historically hosted presidential funerals and even interments; US President Woodrow Wilson and Helen Keller are among the 220 burials there.

The sheer diversity of services and events, along with the unusual dimensions and architectural design, created a natural need for AV systems many years ago, according to chief communications officer, Kevin Eckstrom. “The interior is roughly 150m from the entrance through

to the high altar at the rear of the building,” he shares. “That distance, along with the Gothic architecture, creates a number of blind spots and challenging sightlines.”

The staff at the time – Eckstrom believes it was in the 1990s – brought in broadcast-quality cameras and IMAG screens to solve these problems.

Additional equipment was added in the early 2000s to record and release services on video.

The system was gradually expanded from there, which eventually established a full, mostly analogue, SD infrastructure. These upgrades included an eventual and modest streaming element to reach congregants – and, given the cathedral’s stature, viewers around the world – that were unable to attend services and public events.

Technology evolves quickly, however, especially in the broadcast and AV universe. It wasn’t long before the system faded toward antiquity. “This was a hodge-podge system built over time and always at risk of failure,” says Eckstrom. “We still had a VCR in our workflow not long ago and literally had duct tape and paper clips holding

components together. It worked, but it was far from reliable.

“It was time for a substantial change,” he continues. “The pandemic that forced our doors closed also accelerated our upgrade. We are now capable of streaming HD content with a robust streaming system, along with a 4K foundation.”

Eckstrom notes that there are tens of thousands of people across the country that now look to Washington National Cathedral as their church, because their local venues are closed. “We can record and stream our services in HD and show every spectacular inch of the cathedral,” he explains. “The updated technology in the sanctuary complements the architecture for the first time and we can really create a world-class experience. The fact that we can do that at this moment is truly critical given what the cathedral has become to so many since the pandemic began.”

Fresh foundation With a complete “rip and replace” in order, the leadership looked to an outside technology solutions provider for help. Diversified was soon brought in to assist with specification, design and installation, working closely with the Washington National Cathedral’s technical staff led by director of video services, Matt Echave. “We moved from eight SD cameras to 12 HD cameras, two of which are on tripods and can move anywhere in the building,” explains Echave. “Along with those video upgrades came a new fibre infrastructure that, frankly, makes everything we can do now possible.”

The old SD infrastructure relied on triax and coax connectivity, which Echave dryly describes as “limiting”.

This connectivity would be used for fixed camera shots during Sunday services as well as for special events.

“The broadcast networks would come in for presidential funerals and build out their video systems,” he notes.

“We would also film certain events ourselves with our own equipment, one of which was President Obama’s inaugural prayer services. Let’s just say that filming an event of that magnitude in SD was not ideal.”

All of these are now in the past thanks to the professional work of Diversified, a technology solutions provider equally skilled in broadcast and AV projects, a perfect fit to modernise the cathedral’s infrastructure and workflow.

Light speed ahead When Justin King first stepped foot in the cathedral, he knew there was some serious work to be done. “What stuck out to me was that it was a difficult system to connect to, which is a problem given how many outside teams come in for productions,” recalls King, who serves as design engineer for Diversified’s Media and Entertainment specialty. “Instead of tapping into the existing monitors, these production teams would rent HD displays. So, we came in with a plan to overhaul the entire system.”

That started with the fibre infrastructure, which was a lengthy process given the building’s architectural design. “Some of these cable runs were north of 200m long, which worked for analogue signals but would not work for HD,” he furthers.

“Those cables were permanently installed underneath the flooring, down into what they call the sub-crypt, and then back up through the floor to the monitors. It took months to convert that infrastructure to fibre; once that

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PROJECTS low-latency video-over-IP system in the nave now connects over fibre, and are all IP-capable,” King furthers. “We added an HP Aruba 2930F Series Ethernet copper network switch to connect to the corporate network, which allowed us to stream video to other areas in the facility that we couldn’t get our fibre infrastructure cabling to easily.”

In addition to the monitors, any of the 10 Sony PTZ cameras mounted on the nave can be patched off the fibre infrastructure. There are six strands of fibre in each jacket, with one cable pulled to each dedicated floor box.

From there, they are split out to the fibre opticalCON DUO connectors.

“There are 10 main floor boxes throughout the nave floor, with additional breakout panels in the balconies, galleries and organ areas; each of which have three opticalCON DUO connectors,” shares King. “They can patch a camera or a monitor from any location and there are backup fibre connections available in the event one fails. The Neutrik connectors are pricey, but extremely durable. They reliably carry the power to the MultiDyne VB3800 Series signal extenders at the cameras, which are powered remotely.” was done, we started building out the racks and then the control room and slowly cut over to the new system.”

King elected for a single-mode fibre infrastructure, using Neutrik opticalCON DUO cables and connectors at the core. A variety of MultiDyne’s fibre optic systems bring the video elements to life, including POV signal extenders, openGear signal distribution modules and portable power supplies.

“The MultiDyne systems and the fibre core changed everything,” says Echave. “We now have fibre running underneath the nave and up to our three balconies. Both our own technical staff and outside production companies can connect to the existing monitors using a special encoding system that was added. I can move our portable Sony cameras and MultiDyne fibre transport bricks around, and power signals over Ethernet back to the control room or to the IMAG screens. There is fibre running everywhere.”

Robust capacity As is increasingly typical, much of the system is IP-enabled. The original specification from Diversified called for a closed network with a Cisco 550X Series switch. However, the cathedral’s IT team had other ideas. “The IT team requested that we uplink the network switch to their corporate network,

An added benefit of this strategy is that it eliminated the need to pull individual cables in the sub-crypt area underneath the floor. “These are very tight spaces, and we wanted to make one pull and move on,” notes King.

“Those connectors give us the ability to transport the power along with the fibre cable, all in one cable.”

Diversified went with 12 Sony BRC-H800 HD PTZ cameras, 10 of which are in fixed positions and two of which are portable on tripods.

These cameras were partially selected for their low profile. “The older cameras were just hanging there in plain sight and it was a distraction when walking into the nave,” King furthers. “We installed Sony BRC-H800 cameras in strategic locations with the goal of blending into the cathedral’s architecture.

We ordered them in appropriate colours and, where needed, sent the cameras to a vinyl wrap shop to best achieve the goal. Diversified even wrapped any exposed cables in a material and colour that matches the limestone and the columns.”

The result – nothing sticks out as something that was not originally meant to be there.

Live and streamed video production is managed on the Ross Video Carbonite Ultra so we relied on them to specify the switch,” explains King. “They ultimately gave us our own VLAN and we crossed over some of the AV traffic, most notably from the streaming devices, to their main network. We established that connectivity via a fibre tie-line from our switch.”

The adjusted network specification ultimately included two switches, including the original. “We kept the Cisco for the fibre-based IP infrastructure, because the IMAG monitor system powered by AMX’s

All cameras and monitors in the sanctuary can be patched off the fibre infrastructure. Each jacket includes six fibre strands, with one cable pulled to each dedicated floor box

All the cameras are remotely controlled over IP from the control room, with two camera control positions adjacent to the production switcher. Echave often handles camera control using one of the two Sony RM-IP500 control panels, which have joysticks, zoom toggles and all other features required for PTZ camera control.

“For more intensive productions, we will use both control stations – myself for cameras one through six, and a colleague for cameras seven through

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PROJECTS 12,” said Echave. “I can control which cameras are considered premium for the event, using a companion Ross Ultracore RCP-QE16 remote control panel. These are installed right below the Sony PTZ controllers.”

Each camera has a dedicated MultiDyne VB Series fibre transport throwdown. VB-3842 devices are used for the PTZ cameras and VB-3812 devices for the two portable BRC-H800 cameras. With the single-cable architecture in place, the MultiDyne VB solutions take a full complement of camera signals (including HD video, power and Ethernet control) for transport to the control room and/or IMAG screens. The signals are then broken out by MultiDyne OG-3608 openGear modules populated within the openGear frame.

“The VB throwdowns are the modular units that handle the optic

A splash of colour creates an entirely new canvas

The Sony PTZ cameras are discreetly mounted along the nave

A Yamaha TF1 mixer was added to handle basic audio adjustments camera power sourced through the MultiDyne Juice 48 devices.”

Production advances

In the control room, MultiDyne fibre transport systems bring in Sony camera signals from the sanctuary transmission and the OG-3608 openGear cards in the frame move the video into the Ross Carbonite Ultra production switcher,” explains King. “That’s where operators insert the network control over IP back to the cameras, along with the 48V

The control room sits adjacent to the sanctuary on the second floor, along with the technical core. All systems inside the control room and sanctuary are patched into the central equipment rack, which houses the network switches, the MultiDyne receivers and additional processing and power conditioning equipment.

While the original specification included a new rack, the Diversified team made an interesting discovery onsite that helped to leverage an existing investment.

“The IT team had just stripped a couple of fairly new equipment racks that they were ready to throw away,” said King. “We were able to salvage those and populate them with new equipment, which reduced some equipment expenses for the customer.”

In addition to the technical core, a second rack was built out for the streaming architecture. Video signals are produced using a Ross Carbonite Ultra production switcher, with audio coming in from an existing front of house mixer. A Yamaha TF1 mixer was added to the control room for sweetening, as needed.

“Because of cabling limitations, the existing AKG C451 and Schoeps condenser overhead microphones in the sanctuary generally hit the control room first,” he furthers. “We set up the control room mixer to feed those microphones back to the front of house through an auxiliary output. The front of house operator mixes that audio into their audio mix and then they feed that back to us. That audio is then tracked along with the video which streams to the cathedral’s YouTube and Facebook Live streams.”

All video and audio is managed through a Ross Ultrix 64x64 house router, currently populated to 48x48. That provides room for an additional 16 inputs and outputs to accommodate future growth.

Expansion is likely since most of the system is 4K-capable.

“Most of the equipment selected, as well as the fibre infrastructure, is 4K-capable,” notes King. “The biggest change we would need to make is to purchase a 4K licence for the Carbonite Ultra switcher and upgrade the cameras.”

Viewer response The streaming devices sit on a shelf above the switcher, according to King. Whereas the previous streaming architecture simply fed an analogue signal to a video card in a PC, the recent upgrade brings in professional streaming encoders from AJA – two Helo encoders – with

A pair of AJA Helo devices sit atop the Ultrix router for streaming one streaming to YouTube and the other to Facebook.

“Right before they start a production, the technician running the switcher can just reach up and hit the encoding button on each unit to start the streaming process,” said King. “These are simple throwdown units that take in and encode the video and audio signals.”

The improvements have been noticed. Eckstrom notes that their YouTube audience has “doubled in the first three months”, while Echave points to a specific service that proves the value and importance of making them available. “We went from an audience of 1,000 or less to nearly 100,000 on Easter Sunday,” he says.

“Our motivation through this pandemic has been to provide relief and comfort for people who want to go to church, but simply cannot. The work has been worth it. The quality of the productions and the reliability of the streams are far improved, and people are watching.”

And while Eckstrom confirms that YouTube is still the more widely viewed platform for their services, the expansion to Facebook Live has opened a new audience. They have since added live captions to the streams to serve hard-of-hearing viewers. “We simply didn’t have the computers or the proper technology to serve that audience before,” Eckstom concludes.

“We want to ensure that everyone joining us online can see the names of the preachers and the lyrics of the hymns, while also enjoying a high-quality live stream. We want to make this as close to the experience of attending an in-person service as possible. This new infrastructure helps us produce that robust digital experience that audiences expect and enjoy.” www.cathedral.org www.diversifiedus.com

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PROJECTS

Audio is catered for with L-R Coda Audio G712-96 cabinets and G18 subwoofers

The main Zion Hall

Adding a new dimension Manna Methodist Church has once again turned to Soundus to upgrade the audio in its main Zion Hall WHEN SOUNDUS CORPORATION was commissioned to supply and install a digital console mixing system into the 4,000-seat Manna Methodist Church in Bundang New City in 2012, its ability to deliver quality and reliability has earned the company repeat business. Extending beyond mixing duties, the distributor and SI was requested to supply bespoke loudspeaker solutions that would overcome their smaller, but variable venues down below. In Coda Audio, they have brought an end to unintelligible audio and inconsistent coverage.

Attracting some 10,000 worshippers each week, the main Zion Hall features a live worship band with a choir, organist and orchestra. As such, a high-input channel count was required, together with an ability to mix live audio for broadcast streaming services over the internet. Connected to four SD-Racks, a DiGiCo SD7 console operates at FOH with an SD8-24 handling the live broadcast mix. For Manna’s further requirements, the DiGiCo inventory was extended to include an SD9 as a portable system, together with an SD11 for the videoediting suite.

“The decision to use DiGiCo consoles was based on the SD7’s ability to handle more than 200 input channels, the dual engine offering stability, reliable redundancy and excellent sound quality,” explained Soundus’ CEO, DJ Kwon. “As the church also needed additional mixing consoles, the DiGiCo solution maintains user familiarity and a consistency in audio quality.” Providing both versatility and future expansion, an Optocore fibreoptic network was also added.

Connected to four SD-Racks, a DiGiCo SD7 console operates at FOH Vindicated in its choice of digital mixing console, Manna Church requested Soundus to return in 2017 to fulfil its upgrade works in the smaller Space Pagus Promise Hall. Occupying two levels on the ground and first floors, the 21m x 20m (WxL) venue is used for seminars and events. Capable of receiving up to 48 input channels, the rack-mountable SD11 digital mixer was selected for multifunctional audio requirements.

Beyond the digital mixing desk, Soundus was requested to provide the entire audio solution for the Promise Hall. Project manager Kyungmo Kang worked closely with designers GunSik Kim and JiEun Kim to create accurate simulations based on a Coda Audio point source system. L-R ceilingmounted Coda Audio G712-96 threeway cabinets and G18 1,250W-rated subwoofers are supplemented by a further three ceiling-mounted D8 8-inch models for the balcony seats. Linus5 4x1,250W and Linus10 2x5,100W amplifiers provide ample headroom in addition to remote DSP functionality, management and control via LiNET.

“Despite the interference difficulties with L-R configurations, we opted for stereo imaging to cover the width of this rectangular-shaped space,” explains JiEun Kim. “The main objective was to ensure the SPL levels were even across the entire venue. Asymmetric interference can be reduced between frequency bands on the G712 model and the horn could be rotated. To cover the full 21m width, the 90° x 60° (HxV) option was selected.”

Stage monitoring options include four traditional Coda G308-Pro 8-inch trapezoidal wedges or an Aviom A360 personal monitor system. A DiGiCo D2-Rack accommodates up to 32 microphone inputs, including the inputs feeding the Aviom D400 A-Net distribution panel and the SD11 that operates over the Optocore network.

Four channels of Line 6 XD-V75 receivers together with handheld and bodypack transmitters operate over the 2.4GHz UHF frequency spectrum by virtue of an antenna distribution.

Most recently, the same Soundus team was called back to site to fulfil an audio upgrade in the basement

The main Zion Hall features a live worship venue. With a restricted ceiling height of 4.1m, the width of the Daniel Hall is almost three times that of its length and therefore poses a unique set of acoustic challenges. “Together with the height restriction, the floor slopes,” highlights Soundus sales manager, JaeSeung Park. “As such, we had to carefully select a powerful, yet compact, sound reinforcement system that would not block the audience’s view of the stage from the seats, especially towards the lateral walls.”

As above, a Coda Audio solution has been designed and engineered to overcome the problematic

Daniel Hall has been upgraded with L-R Coda APS speakers and subs asymmetrically shaped room. Dual L-R APS (arrayable point source) 10-inch speakers cater for the low frequencies down to 50Hz (–6dB), while the midhighs are served by a 9-inch coaxial neodymium 20° curved-wave-driver (DDC) which takes control above 500Hz. Coverage is appropriately applied in the wide but low venue by virtue of the APS Coupler with variable horizontal dispersion characteristics and restricted 20° vertical pattern. The four APS cabinets have been configured to be directed between 60–120° across the horizontal axis as required. In addition to minimising frequency interference

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band with a choir, organist and orchestra between speakers, the coaxial transducer radiates a coherent 20° curved wavefront from a rectangular piston without internal diffraction.

Ceiling-suspended behind each pair of APSs, single compact APS-SUB 18-inch subwoofers extend the LFs down to 28Hz (–6dB). “The addition of three HOPS8i and single G512 models as delay fill speakers ensured that the coverage is uniform throughout the venue without any hotspots,” confirms Park. “We achieved uniform SPLs across the sloping area and behind the seats where the SPL decreases over distance away from the main APS hangs. Finally, the relatively low 291mm height of these APS cabinets ensured that each APS pair does not restrict the views of the stage for the audience.” Following their successful deployment in the Promise Hall, Manna Church insisted on extending its inventory of G308-Pro monitors.

A single Linus 10 together with three Linus 5 amplifiers provide sufficient power and DSP management control to the APS-SUBs and three-way loudspeaker system, respectively.

Microphone inputs can be inserted into four floor boxes onstage and

a 16-input wall panel to a DiGiCo 32-input D-Rack connected via Optocore to a DiGiCo S31 console located in the soundproofed lateral control room. The compact S31 integrates three 10-inch touchscreens over three banks of 10 faders, providing visual feedback and control of 30 channels, but should the technician prefer to mix within the venue, an iPad touchscreen is available for remote control. An Aviom A-360 personal monitor system has been added along with four channels of Shure QLXD2 UHF wireless with Beta 87a handheld transmitters and a DPA 4288 flex-directional headset for hands-free presentations.

Having successfully completed the upgrades in the Zion and Promise Halls, Soundus fully appreciated its client’s requirements. “In addition to providing pristine audio, ease-of-use features and even coverage for each interconnected venue, the client knows that the current setups have to date not failed them during any of their events,” adds Park. www.mannaem.com www.soundus.co.kr

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A soundproofed control room is equipped with a DiGiCo S31 for mixing performances in the Daniel Hall

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MADE IN GERMANY

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KnowHOW

Creating a training path

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Gordon Moore discusses how developing an in-house training plan can help increase the number of volunteers and reduce errors and frustrations I ATTENDED A TRAINING CLASS once where one of the attendees was a paid, full-time technical director for his church. He was terribly stressed (almost to tears) and complained that even though he was working 60–80 hours a week, he simply couldn’t keep up with the workload. I asked him: “How many volunteers do you have on your team?” His answer: “None.”

“There’s your problem,” I pointed out. “You are a par t of a church with 1,200 members and yet your AV team is just one person: You! Your job is not to do ever ything.

Your job is to make sure ever ything gets done. I am a member of a church with only 250 people and I have 10 people on my team – all unpaid volunteers.” “Where did you find 10 people with those skills?” he asked. “I didn’t,” I replied. “We star ted from scratch and trained in-house.”

Houses of worship are generally run by volunteers. Only the larger churches have the resources for full-time, paid technical crews.

Even those churches with a paid technical director or manager often rely on volunteers for getting the job done. During this worldwide Covid-19 pandemic, the technical demands have even increased.

Skilled technicians are hard to find and difficult to keep. The solution is to recruit and train in-house.

How can you do this?

First, develop a training path.

Identify the skills sets you need for each position and what those people must know to properly do their job. What skill sets from the secular world are useful?

Example – projections. The projectionists in our church are responsible for putting together the projections for the ser vices including, but not limited to, songs, sermon slides as requested by the pastor, media playbacks and the ser vice schedule, including scriptures. So what skill sets are needed for this? We can’t expect a new person to be literate in our worship software. So, we look for people who have the secular skills needed for this job. For example, for a projectionist we look for:

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Good Windows computer skills – do they know how to boot a computer, set up a screen resolution and know their way around Windows?

Can they transfer files between machines via network and/or thumb drive?

Are they familiar with presentation software such as PowerPoint, Word and YouTube?

Do they have confidence at the computer? A very simple test is to hand them a thumb drive with three files on it – two PDFs and one MP4. Ask them to transfer these to two new directories/folders – one for PDFs and one for video. They will need to create the folders and transfer the correct files to each folder. If they can do this easily, with confidence, without asking for instruction, you are halfway there.

Develop the training plan. Break down the required tasks for each position and then create a stepby-step training process in writing.

Start with very basic skills. Break down each function into basic, intermediate and advanced. Basic is “saving a schedule” or “adding a scripture slide”. Intermediate is “creating a service template”.

Advanced is “installing a new

version” and “configuring the monitors to new resolutions”.

Once you have broken down each function into these three categories, create a list of things to learn for the volunteers with a checkbox. As they learn them, they can check off each step. For example, for projections: 1) Starting presentation software and creating a new schedule.

2) Navigating the software.

Learning keyboard shortcuts and how to use the right click.

3) Creating a new slide a. Changing type font b. Changing type size c. Changing the background.

You get the idea. Don’t tr y to create all the training content yourself. Take a look at the resources made available to you online via the internet and the software and equipment manufacturers. We use Easy Worship for projections. Easy Worship has lots of training videos available for the newcomers as do all the top projection programs.

YouTube has a video showing how to nearly do anything on the gear that you use. Go to the website, identify the videos that properly apply to each skill and then put that link into your training document. Don’t just tell your volunteers to watch the videos – list the actual URL address so they

Readily available training videos are provided by most manufacturers

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can just click on them and go. Just like electricity, training follows the path of least resistance. Make it easy for them.

RTM (read the manuals) This sounds so easy and yet it is so hard for a newcomer. Remember that a person unfamiliar with the technology (sound, lighting, projections, networks) will have no idea what most of the terms and common words mean. Hand a cable to a new person in sound and say “this is a balanced cable”. In your head, you just told them that this is a multi-conductor cable used for a signal sent between two op amps that have inverted phase summing.

In their heads, they just heard you hand them a cable that must weigh the same at each end. “Balanced” means different things between you.

They won’t know “phantom power”, “cardioid pattern”, “TRS”, etc. So, the important part to remember about manuals is that they are written by experts for experts. A variant of Murphy’s Law, Rudnicki’s Noble Principle states that “it takes someone with an absolute grasp of a complex subject to explain in such a manner that no one can possibly understand it”. Don’t throw a manual at someone and expect them to learn the mixing console.

They will give up in frustration.

Training for technical ministry requires both reading and handson training. The hands-on part is the easiest. Develop a mentoring programme where the new person stands next to the experienced operator and observes. The observer should have a simple spreadsheet with tasks to learn.

As they learn them, they can check them off and then move onto the next skill. The spreadsheet can provide guidance not only to the student but also to the mentor so important points are not forgotten.

At the same time, show them where this is done in the manual – now they can relate the function to the instructions while learning the terminology.

Do you have a start-up checklist?

This is one of the best “first tasks” to give to a trainee. The start-up

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KnowHOW Console Training Checklist

Function/skill

Basic skills

Required for board operation

Date completed

Notes

Learn channel control layout

Learn the control layout for individual channels

Time/adjust gain

How to properly set individual channel gain using meters

Phantom power

What is phantom power? What connectors have it? When should it be used?

Low cut

What is a low cut? What is its purpose? When should it be used?

Main fader

How do you adjust level with the fader?

r What do you do if one channel is buried by all the others and you get feedback trying to go louder?

Mute (channel on/off)

When should you mute instead of fading down?

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How can you tell if a channel is muted?

Pan control (left/right)

How is this used in your system?

Main outputs

Learn main output channel controls

Main fader

When is this adjusted?

Mute on/off

When should this be used?

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How can you tell it is muted?

Creating a mix Layering

Learn how to layer sound, giving priority to leads

Preventing feedback

Know when to adjust a channel and when to adjust the mains

checklist details the procedures required to get ready for the service. Checklists are handy for the experienced user as well because it helps them remember to check everything before the service begins. (It is no accident that airline pilots follow a checklist on every flight – even after thousands of flights.) It should be a step-by-step process spelled out in order. The trainee, on their first service, will be shown the checklist and then accompany the experienced crew as they work through it. This presents a huge training opportunity. Trainees will learn where microphones, cables and batteries are kept. They will learn where to get a microphone stand and how to mount the microphones and run the cables.

They will learn who the key worship leaders are and where they like to stand. They will learn how to turn on the console and the amplifiers (and the correct sequence for doing so). They will get a fast, detailed

overview of the entire system on the very first day.

Use a shutdown checklist as well. This is also a great learning opportunity for the trainee. They will learn how to properly coil (over/ under) the cabling, to put batteries in chargers and to properly fold and store mic stands and microphones.

It will reinforce the lessons learned during setup. Remember, what is routine to you is new to them. And, most importantly, it puts them to work right away.

One of the biggest mistakes in training is to not let them begin doing some things immediately. If they are only allowed to observe (look but don’t touch), they may fail to show up the next time. You have to show trust and confidence in them immediately. Give them tasks to do well within their abilities to assure success and then keep raising the bar every week. Avoid the very common problem of an experienced operator who will

bringing them into the technical crew?” The real question is: “How mature should they be?” I have had youth as young as nine do a very credible job and young adults who could not be trusted to put down their cell phones and pay attention.

When recruiting someone to our technical team, I look for maturity, technical aptitude, interest (have they been hanging around the sound booth?) and a willingness to learn. Engaging a young person often helps bring them closer to the church and helps their family find a common purpose. I recruited a young man, 13 years old, recently who has taken over the lighting system, learning the Qplus software.

He is at the point now where he teaches me new tricks in the program. His parents are delighted that he is engaged and active during the service.

Finally, I ask for commitment. By keeping a larger pool of volunteers, that commitment doesn’t have to be onerous. My projectionists are only responsible for one Sunday a month. My sound/lighting people are responsible for only two Sundays a month. Schedules are created every quarter (and I have one of my volunteers taking care of that) and, if someone is sick, someone else is almost always available to step in.

Burnout – exhaustion and loss of interest – happens when you overuse and under-train your volunteers.

You should always be on the alert for the signs of burnout. These

DiGiCo has hosted a series of “How To” training videos on its YouTube platform not relinquish their control of the system to new people. This happens very often and should be discouraged. A truly valuable technical person shares their duties, their knowledge and their passion, encouraging others to learn what they know.

A recent thread on a Facebook group asked: “How old should someone be before you can start

include short tempers, missed deadlines and complaining about others. Proper training helps keep good people, increases the size of your volunteer pool and reduces the errors and frustrations that drive people away. Give them regular breaks and time off once in a while.

Some of my volunteers have been with me since 2006. Training works.

Be Blessed and mix well.

November–December 2020 WORSHIP AVL 33

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Many events take place outside the confines of a HOW

Shooting on location Green Acres Baptist Church’s Casey Hawkins covers the main audio, video and lighting considerations when shooting on location MOST OF THE TIME, WORSHIP and church video gurus are set up in a chapel or worship centre using cameras, lights and sound systems that for the most part never move.

They can get used to the same shots from the same angles and can even get complacent about audio levels, quality of audio, the quality and amount of ambient light and camera stability. But when shooting on location at special events, you do not have that “comfort zone”.

Audio One of my mentors once taught me that audio is the hardest part of video. I was just a teenager then and I thought that was funny, because I considered video and audio separate things entirely. Over my career I have found his wisdom to be quite true.

You can have audio without video, that is radio. But a video without audio is generally useless. So, make sure to get good audio.

You can do this in many ways. More than 10 years ago, the ideal solution would be a wireless lapel for speakers or a wireless handheld mic. That is still a good option, but with all the wireless competition these days, being able to tune your set and get flawless performance without interference has become more of a challenge.

I operated a wedding video business for 10 years and I learned the best way to mic a minister and the groom and anyone else who needed a mic, was to pair a cheap lapel mic and a

Jewish men pray while social distancing outside a closed synagogue in the coastal city of Netanya, Israel small digital audio recorder. I would then sync the audio up with the video in post. It worked great, once I had realised that people like to turn things off after an event. I got burned once or twice by a person turning off the recorder improperly and damaging the files or losing the recording altogether, or muting the mic. I quickly learned to buy recorders that have a “hold” feature, which essentially disables the controls. This also prevents accidental failure should any control buttons inadvertently get pushed when the person puts their hand in their pocket or brushes up against something. I would also ask the person being miked not to touch anything and that I would be approaching them immediately following the event to remove the mic. I learned to purchase lapel mics without a “mute” switch, or at least use some electrical tape or gaffer tape

to tape the mute switch off so that they couldn’t purposely or accidentally render the recording useless.

In a more confined and controlled environment, you can use a boom mic and a boom pole or stand. That is a good solution if you have a stationary subject or if you have a second operator that can manage the boom pole and follow the subject carefully.

One benefit of this is that the mic is not visible in the camera shot. One downside is that the audio quality can be worse because the mic will be further from the voice than a lapel or handheld would and therefore pick up more ambient noise and room echo.

A boom mic is generally a directional shotgun mic. When using a handheld mic in a noisy environment, make sure to use a directional mic and not an omnidirectional. Invest in a windscreen so that wind noise is reduced as well

as plosives when people speak into the mic. These elements always ruin good audio. Also, make sure you have a good on-camera mic to record ambient sound like crowd/audience response.

It makes for a great sync track, too.

Make sure to take spare batteries for all your audio devices.

Finally, monitor your audio levels.

There is no point to any of this if you have zero level or if you have overmodulated (too high) levels to the point of distortion. If you are not used to adjusting (riding) levels on the fly, then consider setting your device to auto level. If you do not have an auto audio level feature, then I suggest you practise and get good at monitoring and adjusting your levels manually.

Once you get good at maintaining good audio levels, you will never want to use auto again.

Lighting Poor lighting can really ruin a great video. In a normal church environment, you might be accustomed to at least good amounts of light. It may be uneven, but you have it. On location, there are many situations where lighting is not adequate for video and means that you should have your own.

In many cases, a good on-camera light is great but, in others, like a nice interview setup, you need fixtures and stands so that you can position them to achieve the look you desire.

Generally, the three-point lighting technique is acceptable – one light on each side of the front of the subject,

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KnowHOW and a back light behind the subject that separates them from the background.

I recommend in all situations and setups that you have fixtures that allow control over the intensity and colour temperature. You will never regret having that creative control. I also recommend not to use too bright a fixture, because your subject will not appreciate a bright light staring them in the face. Take spare bulbs if your fixtures require them. LED fixtures are so common today that spare bulbs are not necessary. Take spare batteries if your fixtures are battery powered.

The lights are no good without power and bulbs and they will go out on you eventually.

When covering events that are conference style, like a deacons meeting or volunteer training class, where the lighting is not in your control and all there are is fluorescent lights in the ceiling, all you can do to iris (shade or brightness) and white balance your camera properly, because introducing your own lights in these cases is generally not allowed. The same goes for venues that have nothing but a wall of windows directly behind the subject. In most of those cases, you will just have to blow out the windows (allow them to be too bright) in order

Worshippers practise social distancing during a service celebrating Pentecost at St Andrews Lutheran Church in Park Ridge, Illinois to avoid having your subject looking like a silhouette.

A solid lighting technique can really take a video from good to great as much as bad lighting can take it from good to bad. Do not forget to plan before going on location and this is a good reason to always scout beforehand whenever possible.

Camera stability Picture this – you are watching a video that has bad audio, poor lighting and it is shaky. That is the trifecta that ensures no one will like or want to watch your video. Do yourself a favour

and use camera stabilisation, of which there are many kinds. The most popular is of course the tripod. But did you know there is such a thing as a monopod? It is basically a stick, like one leg of a tripod, that has height adjustments and a foot that operates on a gimbal. Some more advanced ones have a full fluid camera head complete with a pan handle. These are super handy when you are going to be moving around a lot, but you still want stable shots. These are not as stable as a tripod, there will be some body movement in the shots, but it will look natural and much better than handheld results alone.

The monopod is not good for slick, motion shots, however. For those you will want a gimble-style stabiliser like a Steadicam or a Glide Cam. These can get expensive, can be extraordinarily complex to balance and set up and even cumbersome to use but, over time, you get better at it. For other applications, you might just need a stationary mount, like for a GoPro when driving in a car.

Whatever the logistics of the shoot are, carefully planning for camera stability is crucial.

Finally, be sure to take charged spare camera batteries and formatted memory cards with you to all shoots. Trust me, when you need those and do not have them, it can shut down your shoot and even cause you to miss precisely what you are there to get. Professionally, it makes you look very incompetent to not have spares and backups on-hand.

So, when you are heading out to shoot on location next, make sure to remember these three major areas of video production. You cannot predict everything that will happen, but you sure can plan to do your best. Begin with the ability to get good audio, lighting and a stable shot, and you are off to a great start.

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

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A U DIO C LAR IT Y FR OM MIC TO MI X

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

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pro.focusrite.com/contact-us

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KnowHOW

How house lighting can make an impact

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House lighting at Coast Bible Church in California

John Black delves into house lighting and the impact the fixtures can have on services THE VAST MAJORITY OF LIGHTING production articles and resources focus on techniques and theories on how to light the stage or platform.

When attending a live event, the audience enters, the house lights dim and then the magic happens onstage. In the house of worship setting, congregants gather together to participate in corporate worship rather than be entertained.

Therefore, the entire auditorium becomes an environment that lighting designers and technicians can use to help promote an atmosphere conducive to worship.

In previous articles specifically discussing the differences between “warm” and “cool” colour temperatures of light, I’ve discussed the impact of different colour temperatures on how we feel and interpret an environment.

Imagine again the feeling that you get when you visit a hospital or medical facility verses a department store. We described the light in the majority of hospitals and medical facilities as feeling “cold” as they are often lit using fluorescent or cool-white lighting sources. This stark-white appearance, though cold and uninviting, gives the sense of cleanliness and sterility that we want to believe exists in these types of facilities. To contrast, we described the lighting in a department store

considered and intentionally lit to impact the worship experience for congregants. Let’s look at some techniques that perhaps you can use to maximise your house lighting impact.

Changing intensity

The Jands Vista L5 is used to create different effects at Celebration Church in Florida as “warm” as they are often lit using incandescent or warm-white lighting sources. This more yellow appearance is more inviting and gives the sense of comfort and belonging.

House lighting has gone through a time of transformation in many event facilities, including houses of worship. Today you will find houses of worship that use fluorescent lamps to illuminate the auditorium, as well as those that have migrated to LED lamps that allow lighting technicians to not only dim but change the colour of the auditorium.

These newer technologies allow the entire worship environment to be

Unless your auditorium is older and still using fluorescent lamps, chances are pretty high that you have installed lamps that wash your auditorium in a warm field of light. These may be wired to simple on/off switches somewhere in the auditorium, or they may be wired to a sophisticated lighting control system with preset control switches as well as allowing intensity control from the lighting console.

Perhaps the simplest technique for increasing the impact of your house lighting on the worship service experience is to intentionally and creatively make changes to house lighting intensity throughout the various service elements. Unlike most theatrical experiences where the audience is not actively participating during the programme, worship services often involve congregational singing, perhaps interaction with others sitting in close proximity or time for personal reflection. The intensity of house lighting can help establish and

guide the experience of each of these service elements.

For example, here is a list of house light intensity levels that could be used during a single service: Pre-service – 100% Worship – 50% Welcome – 80% Worship – 50% Message – 90% Personal prayer/reflection – 25% Worship – 50% Post-service – 100% For each service element, the house lighting could be programmed to fade over a set duration (8s for example) to assist in moving from element to element without abruptly changing the lighting intensity. During pre- and post-service when congregants are entering and exiting the auditorium, it is often a social time as well as a time to find seats and read service materials. Therefore, full lighting is best suited. During worship, it may be appropriate to dim the house lighting to focus congregants on worship while allowing them to still feel a part of the greater worshipping body.

During spoken elements, it may be appropriate to bring house lighting back up to allow for congregants to read and be visible to speakers.

During personal prayer, you may want to lower the house lighting to

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There are no hard rules for when to make changes and how bright different service elements should be. Intensities will vary depending on your auditorium, the house light system and the overall atmosphere you are trying to achieve during service elements. Simply changing the intensity of your house lighting can positively impact the experience of the service, reinforce the congregants’ focus during service elements and assist in supporting the service flow.

Coloured house lighting Perhaps the newest movement in house lighting systems has been the incorporation of colour-changing LED light systems. Not only can “warm” and “cold” white lighting establish a particular feeling in an environment, but specific colours of light can help to establish desired moods and atmospheres. While none of the facilities that I work in have a coloured house lighting system installed, I can still experience the impact of coloured light in the auditorium through the placement and control of stage lighting fixtures focused on the auditorium. For existing facilities, this may be the most cost-effective way to add colour to the auditorium and can achieve the same results as a purpose-designed house lighting system.

Why would you want to use coloured light in the auditorium? As previously mentioned, worship services are often communal experiences, meaning that the congregation is just as much an active participant in the service as those onstage.

Coloured lighting is frequently used onstage and by bringing that colour

out and immersing the congregation Blending Congregational Lighting in coloured light matching the stage and Stage Lighting. lighting, congregants can experience Be intentional – less and engage in the service in a more impactful way as the barrier between is more “stage” and “auditorium” is removed.

Whether using the intensity of The communal aspect of the worship your house lighting fixtures or service is celebrated. manipulating the colour of lighting While lighting intensity is very washing your auditorium, there are well suited towards impacting a few considerations that worshipper’s focus, are important to coloured lighting keep in mind. can specifically First, it is have an important that impact on decisions made establishing regarding the and house lighting reinforcing be made particular intentionally. moods and Remember that feelings. you are lighting For more a worship detail on service, conveying not a rock moods with concert. The colour, overarching you can purpose reference for any my Winter Chroma-Q’s Inspire XT range design or technical 2014 article decision made How to Convey should be to help connect and usher Moods with Colour. The concepts congregants into an environment remain the same, but now the entire free from distraction so that they can worship space becomes the canvas worship. Lighting can have a hugely upon which colour can be applied. positive impact towards meeting Probably the most obvious that purpose. But it can also distract application of using colour to light and detract away from that purpose. the auditorium would be during worship music elements of a service When planning lighting cues, lighting looks, cue timing, colour choices to match and blend with the lighting and changes in the state of house on the stage. During other service lighting, it is important to be aware of elements, it is highly possible this purpose and to ultimately ensure that congregants would need that your choices are creating that adequate lighting to be able to read environment rather than distracting passages, notes, programmes or from it. other materials during the service, Second, as with all lighting so washing the auditorium in decisions, it is important to keep coloured light may not be the most in mind the impact that changes effective. I touch on this subject more in the July–August 2017 article in lighting will have on any other

production elements used in your services. For the most part, this relates most closely with video.

Even before the Covid-19 pandemic swept the globe, houses of worship recorded, streamed or broadcast their services to viewers. The goal of a service broadcast is often to capture the service as a whole, to try and draw in the viewer to participate in what is happening live. This often was and is accomplished through camera angles and shots that include congregants. Therefore, the amount of light and the quality of light needed for these shots has to be considered so that the video team can capture what they need to capture.

Third, I encourage you to start small. Sometimes less is more. It is important to remember that the focus is impact – not “wow factor”. I have found that often the most effective and impactful lighting impacts can be achieved through the smallest changes. That may be a really slow fade time between two lighting states. That may mean selecting a single colour for an entire service.

In my theatrical work, I know that I have done my job well when the technical elements go unnoticed. The same is true of a worship service.

Every technical decision should be intentionally made to support the worship environment and the service message.

In closing I hope you are able to use these techniques and tips to utilise your house lighting to be impactful in your services. Keep your eyes open, make small subtle changes and collaborate with the other members of the production team to meet service goals, purposes and messages. If you do this, you will make an impact – even with your house lighting.

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MAINTENANCE

Wireless microphone frequencies The spectrum available for wireless microphones isn’t what it used to be. Frank Wells asks, are your systems legal?

TECHNICAL MINISTRY STAFF ARE, BY nature of their specialised knowledge, the de facto technology experts in most houses of worship. Tech staff members, whether volunteer or paid, take on the responsibility to support worship with the application of technology. They also become stewards of their HOW’s tech resources, with additional responsibility for maintenance, safety and, in some cases, compliance with legal regulations that apply to worship tech.

Wireless microphones are a case in point. The last decade has seen vast changes in the radio frequency (RF) spectrum available for wireless microphone use. Both good engineering practice and good stewardship demand an inventory of a HOW’s wireless systems for legality and to ensure that they will be able to operate free of interference issues.

Traditionally, wireless mics have mostly operated in the same bands used for broadcast television, slipping their low-power transmissions into portions of the TV bands not being used in a given locale. The transition to digital broadcasting has been accompanied by a shift in television station frequency use, with a corresponding consolidation and reduction of the overall bandwidth used by the broadcast stations. The freed-up spectrum space has been reassigned for use by public service entities such as the emergency services and for cellular phone and data applications.

Here’s an example of how this can affect a HOW: when the Federal Communication Commission (FCC) in the US began the reallocation of television spectrum, portions of the 700MHz band used by many wireless users was reassigned, while other portions were auctioned off to commercial entities. One small Mississippi church I had a relationship with was using all 700MHz microphones. As those were about to become illegal, I connected them with a wireless mic manufacturer who helped them acquire new systems. To my dismay, the church didn’t discontinue the use of the old systems even after they were no longer legal. To make a bad situation worse, their new 600MHz systems were in the large portion of that band that was identified for a later spectrum auction and, as of this summer, are also illegal. The church has not quit using any of their wireless mics, and have not made plans to shift to new, legal gear.

Companies that made huge investments to secure exclusive use of the auctioned frequencies have made additional investments in technology and infrastructure and are now firing up 5G services in the

Modern digital wireless systems are optimised for current spectrum realities

2.4GHz wireless systems work in the same spectrum as the majority of Wi-Fi networks 600MHz space. If they identify interference from now illegal wireless microphone systems, the FCC can impose fines of up to US$10,000 per violation or per day of an ongoing violation, and US$75,000 for any single act or failure to act. Exposing themselves to such potential fines is hardly good stewardship of any HOW’s resources. Additionally, a HOW could experience interference themselves as previously open frequency space is beginning to get used.

The situation is not consistent worldwide; however, there is significant global coordination. The overall trend is for at least the 5G assigned space to be universal so that phones and other devices using the service can operate globally.

The requirement that wireless mic users register systems or obtain licences varies by country. Though the available spectrum space has severely tightened up, there are frequency bands where traditional wireless can operate that are adequate for most HOWs. Wireless system manufacturers have also

developed systems that operate in the same 2.4GHz and 5GHz space used for Wi-Fi – these bands are designated for consumer use and recognised by the governments of most countries. Wireless systems in these frequency bands are digital as they have to cohabitate with Wi-Fi routers and other gear. While legal without a licence, the number of available channels for a given location is less than with traditional wireless and system latencies are increased because of the frequency hopping necessary to maintain an interference-free, quality service.

Worship tech teams, in general, can’t be expected to have the specialised knowledge to engineer physical mounting of lighting grids, electrical systems, videowalls and the like, and that would also apply to having sophisticated knowledge of RF spectrum legalities. However, ignorance of these legalities does not excuse illegal activity.

This responsibility for compliance with shifting and complex regulations might be frightening to volunteer tech staff who lack formal training in the technology, but they aren’t alone.

Wireless microphone manufacturers, their sales reps and gear dealers are happy to provide advice and information. Where gear has become obsolete, many manufacturers have rebate and trade-out programmes that can ease the financial pain of making a transition to new systems.

Be a good steward of your HOW’s resources – make sure that your wireless systems are operating legally.

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TECHNOLOGY

Using audio systems to help HOWs reopen Bernice Cramer, director of global marketing, Bose Professional, discusses how sanctuaries can overcome Covid restrictions by making sure every person can hear the message Bernice Cramer, director of global marketing, Bose Professional

The Church of the Apostles in Atlanta, Georgia, is continuing to stream to remote congregants and incorporating regathering safety measures to welcome congregants THE NOVEL CORONAVIRUS HAS created challenges in all aspects of our lives that require us to make adjustments in how we live and work – and where we worship. For months, social distancing and stay-at-home orders necessitated the closing of churches and mainstreamed “virtual congregations”. Now the process of regathering has begun and congregations are coming back together in person, while some people are still hesitant or unable to attend in-person services. These different scenarios have created challenges – and opportunities – for consultants and integrators as church leaders work to figure out how to serve, connect and inspire their flocks.

For church leaders in particular, preaching to everyone everywhere has created new audio challenges. In

this new dynamic, both the online and in-person experiences of worship must be considered and ultimately blended together. But developing the audio quality and integrity for the experience has been a hurdle to overcome.

By making adjustments to worship spaces and by selecting the right audio solution, houses of worship can overcome these issues and ensure that every sermon sounds great, the message is heard and each person is reached, regardless of the location.

Improve acoustics of empty seats In this mixed model of worship, preachers must contend with the difficulty of delivering a sermon to the camera as well as to the people in the room. While visualising their

congregation, they can ensure better communication with those at home by placing a light near the camera, which can serve as a reminder to look over at it from time to time.

Social distancing creates another challenge. With fewer people allowed inside, a church that normally seats 400 people could reach capacity at just 75 occupants. As difficult as it might be to preach to a camera, it can be even harder preaching to a room when only 20% of the seats are filled and distanced throughout the space.

This challenge is heightened by the audio problems that accompany empty seats. Vacant pews increase the number of hard surfaces and lead to poor audio and other acoustic issues. As a result, the science of room design – how it is built, the materials that are used, the shape and

structure – is now front and centre. It will influence how churches remap their audio and select the types of audio equipment they should consider going forward.

“To best tune the space, audio should be kept off the back wall and above a height of 2m,” shares Don Allensworth, founder and president of The NewGround Group. “This placement helps to prevent unnecessary acoustic energy in the space, which can create cerebral confusion and audio fatigue.

But this is only effective when using the right loudspeaker technology.

Contrary to popular belief, not every house of worship requires a line array.”

Identify what the room needs based on the circumstances, room shape, dimensions and gathering goals. The answers will guide what PA the space really requires.

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TECHNOLOGY Allensworth provides strategic insight for church leaders, helping them to maintain the family closeness as they grow. “It’s also important to remember that more is not necessarily better.

Don’t make the mistake of adding more speakers and increasing the volume because some individuals can’t hear. That will only exacerbate the problem by introducing acoustic artefacts into the space. Instead, users should focus on getting as close as possible to first-generation sound that accurately represents the content with vocal clarity and musical richness.”

Choose the right form factor When choosing an audio solution, church leaders should know that there are different loudspeaker form factors built for different space shapes. Rooms that are wide but not deep – such as a children’s ministry room – require a wide pattern dispersion, like portable

back to the sanctuary

The Worship Center at Crossgates Baptist Church in Brandon, Mississippi, has reopened at 50% capacity line arrays, that allow the width of the room to be covered without the need for excess equipment. Line array loudspeakers also allow audio to be projected efficiently within a deep room without fall off.

However, a line array would be less effective for a room with lower ceilings.

This is why it is so important for houses of worship to consider the room shape and interior before investing in an audio solution. They should find an integrator who is well versed in audio for houses of worship and partner with a manufacturer who has modelling expertise.

Houses of worship should also take advantage of the tools available that have been developed and refined over decades of experience. This ensures the space or room will be modelled in a way that takes all the needs around the audio solution into consideration and delivers direct sound effectively and efficiently. This will provide houses

of worship with an actionable starting place to build the appropriate solution based on the output heights, distances, frequencies and other considerations.

Select technology that makes sense Audio is everything – if the video quality is okay but the audio is great, people are much more likely to still be able to connect with the spoken word. If the audio is poor, however, the video will not matter because the moment will be broken and the connection to the church community may not come through.

In order to provide the best audio, don’t rely on the camera’s built-in microphone. Use a dedicated mic for best sound quality. Most churches should also veer away from 1080p or UHD 4K since high resolutions can cause playback issues, both for video and audio. A lower resolution (720p) is sufficient and still provides high-

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In Fort Wayne, Indiana, Taylor Chapel has livestreamed its services and held outdoor worship

definition visuals without hindering the streaming experience.

A resolution of 720p also makes the video easier to compress, which is needed to ensure that everyone can stream the content, regardless of their bandwidth. Raw video files are too large for most internet connections and would prohibit many individuals from viewing a church’s service.

Last but not least, staff should be equipped with a good pair of headphones to ensure that they can properly monitor and mix the stream.

While parishioners ultimately have the power to turn down the audio on their device, churches still need to capture audio with a clear, consistent and dynamic feed that provides every listener with high-quality results.

Regather with confidence Fewer people mean more hard surfaces, and that leads to audio distortions that, if not dealt with properly, can create even greater problems – including acoustic artefacts and audio fatigue. By relying on the right audio technology and modelling tools, churches can offer high-quality, consistent audio that enables them to deliver their message without issue.

The locations in which we worship going forward – whether they are our homes, distanced at church or even in a church car park – will remain flexible for as long as we approach AV technology with flexibility in mind.

Yet the church can still be a powerful centre. When we consider how the shape of the church will impact its function and the audio that supports it, worshippers can come together in a meaningful way and even bring new members into the fold.

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TECHNOLOGY

Interactive video tech to captivate worshippers

Content creators can elevate their production values with graphics

Stuart Russell, Ross Video’s senior communications manager, discusses how evolving technology is helping with workflow simplification ONE OF THE KEY RECENT TRENDS in the house of worship world, which is actually being mirrored in the wider world of live production, is “workflow simplification”. Or, to put it another way, the desire of content creators to create better-looking, more engaging content in ways that are easier to manage and require fewer people to achieve. The desire to do more with less is everywhere at the moment, and that’s not to say there is any kind of de-skilling going on here; it’s simply a reflection of the fact that people want to work more efficiently and cost-effectively. Fortunately, for everyone in the business, technology keeps on advancing and opening up new possibilities for those who are tasked with bringing live content to an audience.

I don’t think it’s disingenuous to suggest that a great many places of worship rely on volunteers to help keep the wheels turning. Yes, there are certainly some amazing churches, cathedrals, mosques and synagogues around the world with significant congregations and AV budgets that would make a regional TV station green with envy, but these only represent a relatively small percentage

of the wider world of worship. From Philadelphia to the Philippines, most houses of worship are running on modest budgets (despite their ambitions) and rely on the time, expertise and largesse of volunteers to

Stuart Russell of worship reference broadcast TV as a gold standard when it comes to the production values they aspire to, but they feel that the technology

Ross Video’s PIVOTCam PTZ camera keep operating. From a broadcast and AV perspective, we’ve seen houses of worship bringing in large screens and cameras in order to improve the overall quality of their presentations and give their audiences more of a sense of spectacle, but many have struggled beyond this point because of a lack of in-house expertise or budget constraints. It’s a familiar refrain to many, I’m sure – “I want our congregation to really feel like we’re putting on a production”. Many people working or volunteering with a house

is either too expensive, too intimidating or too complex to learn and operate. While it is certainly true that the biggest and most lavish productions do require a degree of broadcast engineering experience and a decent operational budget, it’s absolutely not true to suggest that this is the only way to do things – excellent results can still be achieved with products and solutions that are powerful, easy to learn, straightforward to operate and surprisingly cost-effective.

Let’s begin at the front end with cameras. The latest generation of PTZ-style cameras have come a long way in terms of the chip technology, and now offer higher resolution and more powerful zoom options than ever before. That’s great news for everyone from the treasurer to the operator, and the trend looks set to continue to the point where even TV studios and live event venues are now able to consider PTZ-style cameras as viable alternatives to their larger, heavier and much more expensive siblings. Many smaller cameras now require only one single cable connection (Cat-5e or Cat-6) and have a range of control and mounting options, helping to simplify things even further and giving operators even more flexibility.

Next up – production switchers.

Multiple cameras = multiple video feeds = the need to switch between signals, and that necessitates a production switcher of some kind.

While some of the larger production switchers can appear intimidating and make you feel like you need a degree in computer science to operate

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TECHNOLOGY them, they also have smaller and less complex cousins that can even offer a limited degree of production automation, helping to streamline and simplify productions. Yes, there is a degree of compromise with these products and you will be limited in terms of the number of camera feeds, but, for a great many church productions, these smaller switchers are more than enough. Taking the idea of simplification even further, the latest generation of all-in-one and integrated production solutions combine production switcher functionality with a high-quality graphics engine, video clip server and audio mixer, giving operators access to powerful, broadcast-quality tools from within one single interface.

These latest solutions can happily be operated by a single person – you can’t get any more efficient than that – and are quick to learn and easy to operate.

In addition, the cost of these products is perhaps far more accessible than you might imagine – some start at under US$20,000 and that’s not a huge investment for professional solutions that are widely used within the broadcast, live sports and esports production worlds.

Graphics, for the record, is one area where content creators can really elevate their production values. Well-

Analog Way’s Midra 4K presentation switchers designed and eye-catching graphics can add a whole new dimension to the look and feel of a presentation, and there are plenty of graphic design companies around who can provide a suite of graphics templates for any kind of application. The introduction of graphics and video clips into a presentation really helps gives congregations much more of a sense of “production” and can often provide an extra level of engagement that really elevates the audience experience. For the even more ambitious, various solutions also exist to integrate social media content into a presentation, further boosting the sense of engagement and community.

A quick word on streaming. The ongoing pandemic has obviously taken its toll on live gatherings worldwide, and it’s absolutely understandable that a great many people have struggled with missing their regular opportunities to gather, worship and celebrate

with their communities. In the face of international lockdowns, many houses of worship have embraced the challenge of reaching their congregations by streaming services and presentations online. Not quite the same as being there, of course, but streaming has still helped to provide some comfort to those stuck at home, unable to see family and friends. Similarly, with ceremonies such as marriages, baptisms and (sadly) funerals all being subject to government restrictions, streaming has helped give people some opportunity to participate, celebrate and say goodbye without physically being present. As with the rest of the broadcast workflow chain, the costs associated with streaming solutions have fallen quite a lot over the last few years, and it’s now easier than ever to stream your presentations, ceremonies and services online to audiences around the world.

A final thought regarding implementation. As I mentioned previously, cost is always a consideration when it comes to choosing a new broadcast or AV system, but configuration and control are usually the next two important topics raised as concerns by houses of worship. There is also good news here. Some manufacturers (and Ross Video is certainly one of them) offer custom touchscreen control panels that can be completely tailored to the needs of individual operators. This means that inexperienced users can be trained to operate productions via very simple control panels, but greater levels of functionality and control can be made available as the operator’s experience and confidence grows. In all cases, I’d recommend finding a good systems integration partner (we have a list of them on our website) who can guide and advise on the best solutions to choose and also help with system installation, configuration and training.

A good partnership with a reputable integrator can prevent you from making costly mistakes in the short term and can help you realise your potential when it comes to elevating your productions and captivating your worshippers. www.rossvideo.com

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TECHNOLOGY

M

Chauvet used Maverick MK2 spots and Rogue R1 and R2 beams at Zimbabwe Worship 2020

What’s in a name?

Elation’s Bob Mentele describes the pros and cons of the three main categories of automated lights AUTOMATED LIGHTING FIXTURES come in many shapes and sizes.

It seems like almost every day a manufacturer releases another new fixture with more features and capabilities than we know what to do with. Luckily, we can classify them into three main categories or types: spot, wash and beam fixtures. These three categories define the main quality of the light produced by the fixture while other labels assigned to them will give us insight into added feature sets the fixture may have.

The most popular automated fixtures used today are in the spot category. A spot fixture is a luminaire that natively produces a round and hard edged, or focused, beam of light.

These fixtures are popular because of the flexibility and features they provide. Some of the common features you will find in these fixtures include zoom, focus, colour filter wheels, colour mixing, gobo wheels, animation wheels and prisms. The number of features included in a

MEET THE AUTHOR Bob Mentele, worship market manager at Elation Professional

Bob Mentele fixture will vary greatly depending on price point. At this point in time, most spot fixtures utilise a white LED engine as their light source; however, we are starting to see some multicolour LED engines being designed for these fixtures as well. This feature

allows for the fixture to provide colour mixing capabilities without needing to include a mechanical colour system.

It also produces coloured light with brighter output than fixtures that use colour filters.

Sometimes a fixture will be referred to as “hybrid” when a manufacturer includes some additional features that allow them to simulate the quality of light that the other types of fixtures produce. Including one or more frost filters takes the hard edge light and softens the edges, which emulates the light output of a wash fixture. Often the softening provided by a filter is not as intense as that of a true wash fixture. The light output is also not as bright because you lose intensity when you add the filter.

Adding in a secondary lens or very small apertured gobo can allow the fixture to simulate the output of a beam fixture. Using these methods allow the fixture to create a very tight beam of light, but not at the intensity that a purpose-made fixture would produce because the optical system

is not designed to focus the light as tightly as a beam fixture does.

One unique feature that can also be added to a spot fixture is framing shutters. When this is included in the fixture, the device is referred to as a “profile” unit. This is because that feature allows it to emulate the capabilities of a static ellipsoidal profile fixture. The ability of the fixture to create a beam of light that is not round can offer very unique visual effects, or it can be used to eliminate any light from hitting surfaces that we don’t want to illuminate, like projection screens, scenery or audience members.

Wash fixtures are also quite popular in lighting rigs these days. Wash fixtures produce a bright, round beam of light with soft edges. This light emulates the output of a PAR or Fresnel fixture. The softened nature of the light it produces allows multiple light beams to blend together evenly, and it also allows the light it produces to seem less “harsh” than that of a hard edge beam. Using

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TECHNOLOGY

Martin’s Mac Aura PXL wash light

multiple units together can easily provide an even, full stage wash for front or back light purposes.

Wash fixtures are a unique category because they can come in two design styles. Initially they were only available in one design, which featured a body similar to that of a spot fixture but with a Fresnel or PC lens on the front to provide the soft edge of the beam.

With the introduction of LED technology, a new style was developed. The design utilises multiple LED engines on the face of the fixture with a lens above each chip. This style of fixture allows the light to function not only as a wash light, but also as a visual effect when the face of the fixture is placed in view of the audience.

Elation’s Artiste Davinci spot luminaire

Features available in a wash fixture are somewhat limited compared to those of the spot fixture. Typically, they can include zoom, focus, colour filter wheels, colour mixing, frost filters and internal framing or barndoors. The newer LED designs can also incorporate other features, including pixel mapping and lens rotation effects. These two features are typically more for visual effects than creating usable light on a stage.

Some wash fixtures with a zoom feature allow for the narrow angle to be tight enough that they can emulate a beam effect in the air. The light they produce still features soft edges, but the light beam can be focused so tightly in the narrow zoom range that it becomes a very noticeable beam that can provide some aerial effects

Robe’s Spiider is an LED WashBeam luminaire

similar to those that a beam fixture can create. Again, the shaft of light will not be as bright as it would if it were being produced by a dedicated beam fixture, but it adds some additional functionality to the design.

Beam fixtures are probably the least flexible fixture types in the group. A beam fixture creates a round, narrow angle, hard edge beam of light. This light is not very useful for anything other than creating aerial effects with the shafts of light. The quality of light that these fixtures produce is not typically refined enough to be used to illuminate anything. The light sources that they utilise are designed to be bright, but not produce light of a high quality that anything would look appealing if it was illuminated.

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n Both spot and wash lights can be affordable options depending on what the specific lighting task is

While LED has saturated the designs of spot and wash type fixtures, the technology is not often utilised in beam fixtures. It is difficult to find a bright enough LED engine that can focus its light at the tight angle the optical system of a beam fixture requires.

Because of this, most beam fixtures designed today still utilise a lamp because of their very tight light source. There are some LED beam fixtures available, but they are not nearly as bright as their lamp-based counterparts.

Typical features include focus, colour filter wheels, gobo wheels, frost filters and prisms. Some beam fixtures do have a zoom feature as well, but it is typically not a wide range and is only useful to adjust the size of the visible shaft of light.

Beam fixtures are used mostly as aerial effects fixtures, and because of this they rely on the use of atmospheric effects to be visible.

The only way to have the shaft of light become visual is if the air in the venue is filled with particles that the light can shine onto. Using a hazer or similar effects machine is what will create this feature. If the venue that you are working in does not allow for the use of atmospheric effects, then a beam fixture would not be very suitable and would not be worth the investment.

There are many ways a moving light can be designed and numerous features that can be created and integrated into them.

We can create a new term for each unique design, but in the end they can all be classified into one of the three types if we focus only on the light that the fixture is primarily intended to produce: spot, wash and beam.

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BUYING GUIDE

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Moving lights It’s time to buy new moving lights, but where do you start?

Worship AVL has you covered with a rundown of purchasing considerations THERE ARE A GREATER NUMBER and variety of moving lights than a lot of readers of this article will likely realise. Why is that and what are they all for? Even if your knowledge of lighting is rudimentary at best, you will at least have heard terms such as spotlight or strobe light in the past. These are distinctly different types of fixtures outputting light in different ways. The difference tends be obvious as soon as you see their light beams but, once you dig down into the world of the professionals, differentiation between light fixtures becomes slightly more subtle.

At one point, in an instance where something unique and specific needed to be achieved with lighting, a dedicated fixture was probably devised for the task at hand.

Thankfully, multiple decades of evolution and development of lighting technology, and also lighting design, has meant most modern moving heads fit into one of three main categories: wash, beam and profile (spot).

You’re aware that the lighting inside your sanctuary during services is suboptimum at best, but have absolutely no idea of the difference between a wash, profile, beam, spot or batten. Thankfully, Bob Mentiele

has provided a thorough introduction to the various types of lighting fixtures most commonly found in houses of worship on pages 44–45. This is a great place to start before even considering aspects such as the brand or price.

Like a great sound system, a professional lighting rig has become an expectation in modern houses of worship. Lighting is not just about ensuring the congregation can see everything that happens onstage, it’s an invaluable tool in creating

create a design with precision.

Regardless of fixture type, bear in mind throw distance throughout your equipment exploration. This is a critical consideration as it will decide the output required. There is no use buying low-powered fixtures solely

The differences between a beam, spot and wash output Of course, the most sensible approach, as always, would be to ask the experts directly. But particularly when budgets have been squeezed in the way they have recently, any money spent on professional consultation means less cash available to actually buy new gear. Saying that, many systems integrators, particularly those engaged in the house of worship sector, would be only too happy to explain the rudimentary differences in fixture types and when/where they could or should be used.

ambience and moods that result in a production that draws the spectator in. You need only look at the world of theatre to see to what extremes lighting can be used to shape the overall feel of a production.

Different fixtures can offer a variety of tools to create the perfect moment onstage. For example, gobo and animation wheels can give you a variety of textures for your stage wash or scenic elements, while framing shutters provide the ability to block off light beams and

because their energy consumption looked enticing on paper, you’ll just end up having to buy more in the future to compensate, or accommodate that poor choice into your lighting design.

What about away from the stage and sanctuary? In recent months, congregants at most churches have become virtual spectators, meaning the on-screen appearance has become every bit as important as its real-life counterpart. Extra attention here has to be paid to the CRI, or

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BUYING GUIDE Colour Rendering Index, which is a measure of how accurately a fixture can reproduce colour compared to a natural light source. Natural light is classified as having a CRI of 100, the best possible. Likewise, a fixture’s colour temperature directly affects the way skin tones look, both on and off camera. With so much choice on the market, a sensible way to narrow down the options is by considering fixture type, manufacturer, tungsten or LED bulb and, finally, price. But this isn’t normally the way the conversation goes, details Procom’s Anro Schroeder.

“It’s very interesting, the conversation when speccing lighting equipment tends to be quite ‘fluffy’ compared to audio,” he explains. “I always find this funny, because audio design is often very mathematical and there’s a

College Park Huntington’s bold colours build an atmosphere on the stage measured. We see this time and again, ask three members of the public about the sound system and you’ll get back three different answers – unless the lighting is really bad, most will typically agree with each other.”

But for the less informed, this lack of direction can make it a lot harder to

Rock Church uses wash fixtures to fill its sanctuary with green tones solid methodology for speccing audio equipment, yet when it comes to people listening to it, the results are highly subjective and everyone has an opinion. Lighting is the complete opposite – more fluffy during the design stage but the result is easily assessed and typically opinions are a lot more consistent and less subjective. When it comes to the visuals, a light is blue or a light is red or a light is green and it can all be

know where to start when creating a new lighting design. Don’t get bogged down with the specific quantities and placements during early planning stages; instead, focus on what you’re trying to achieve and how the new gear will work alongside what you’re already using. You’ll likely realise that the majority of your output comes from a small selection of fixture types, with additional units called upon for specific purposes. At this point, a systems

integrator can lend their experience in helping to settle numbers.

Of the three main moving light fixture types, beam fixtures can create the narrowest beam angle, hence the name, while the spot/profile and wash are actually quite similar, differing in how “sharp” and defined the edges of the beam are. Profile fixtures are able to create a sharp edge, while wash fixtures will always have a soft edge.

Having read Bob’s article, you now are aware of the various types of fixtures and when they can be deployed. You know what types need to be used but don’t know what makes one manufacturer’s better than the next.

“When it comes to speccing lighting for a venue – what you need in order to realise your design – we always sit down with the client and start out with what they are trying to achieve,” furthers Schroeder. “Are you a modern house of worship or more traditional?

What is the average age of the congregation? The second thing is budget. The quantity of fixtures you are speccing is directly proportional to your budget. Whether you have 10 lights or 12 will make a difference, and generally speaking this is the same with your control system. No matter how big your line array is, your audio mixer typically stays the same. With lighting you either need one, two or 30 universes – there’s scalability and the

costs increase proportionally as you upsize your rig. It’s really important to set your budgetary expectations early on.

“Once you’ve settled on the first two points, then I would look at brands,” he adds. “Fixtures at the upper end of the market are considerably more expensive per unit and you can certainly do a lot more with less budget with cheaper brands. The more expensive models typically boast other benefits.”

For SIs, a brand preference can be a good way of gauging the “importance” of a production. “If someone comes to us requesting Vari-Lite, for example, we instantly know they’re serious about what they want to achieve and probably have the budget to back that up,” says Schreoder.

Job done, right? Well, should you opt for LED or tungsten bulbs? How intelligent should the fixtures be? Will additional equipment upgrades be required to get the most from the new fixtures? There’s no single right or wrong answer to these questions.

Particularly when it comes to LEDs, not all fixtures are created equal. Try and find ways to experience potential buying options in person. Before taking the plunge, hire a variety of different fixture types from a local rental company and experiment in the downtime between services with different designs and layouts. If you see another ministry’s stage design that impresses you, reach out to their tech team leader and ask how it has been achieved.

Lastly, after everything that has been said above, be aware that moving head fixtures might not even be the right choice for your particular venue and worship style. Buying a large number of static profile spots and Fresnels with barndoors could be just as flexible for your uses and you will get significantly more fixture for your money.

Like what you’re reading?

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NEWPRODUCTS

PRODUCTS

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

A–ZCONTENTS The ID14 and IDS108

Nexo’s smallest loudspeaker to date The rear of the fully symmetric design incorporates two M6 inserts for wall-mount applications and a dedicated U bracket can be added for installing on a microphone stand.

Sharing the same acoustic components, two versions of the ID14 are available. The Installation version features an acoustic fabric-fitted front grille and there is a cable gland with two-core cable for audio input offering IP55 protection. The Touring version of the ID14 uses a Magnelis steel grille and the back plate holds two speakON connectors.

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Karif-LT/Domino

59

Blackmagic Design

Atem 2 M/E Advanced Panel

54

Chauvet

F6 Strip IP

60

d&b audiotechnik

Soundscape update

51

Dynacord

MXE5

52

Elation

KL Panel/Atmosity

60

ETC

ColorSource Spot jr

61

Focusrite

Scarlett Solo update

52

Green Hippo

Nevis+

54

HK Audio

Premium PR:O D2 series

50

Ikegami

UHL-F4000/BSX-100

57

JBL Professional

BRX300

48

MA Lighting

grandMA3 onPC command wing XT 60

Magewell

Mac SDK

Marshall Electronics CV730-BK/CV630-IP Martin Professional ELP WW IP/ELP CL IP speakON XX-receptacle

Neutrik

Nexo has followed up on the success of its ID24 cabinet with the launch of the ID14 and the companion IDS108 subwoofer joining the existing IDS110 and IDS210 models THE DUAL concentric design features a coaxial 4-inch LF driver with a 1.3-inch voice coil and a 1.4-inch diaphragm for the high frequencies.

Two directivity options can be applied in the form of a standard 100° x 100° horn or an asymmetric alternative offering 90° x 140° dispersion.

Manufactured in France, the ID14 is capable of producing a peak output of 116dB with a frequency response of 120Hz – 20kHz (–6dB). When paired with the IDS108 8-inch bass-reflex subwoofer, low-frequency extension to 63Hz can be attained.

Available in black, white or any RAL colour, the IP55-rated, weatherresistant cabinet comes with a comprehensive range of accessories.

Adamson

54 55 61 52

NewTek

TriCaster 2 Elite

56

Nexo

ID14/IDS108

48

Panasonic

PT-FRZ60/BQ1W Series

57

Powersoft

Duecanali 6404 DSP+D

51

PR Lighting

Aqua Marine 580 BWS

61

Prolights

EclCyclorama 100 and 050

61

Renkus-Heinz

12/3-RN

50

Ross Video

Gator Toolbox V2

58

Sommer Cable

SC-Semicolon 4

52

Waves Audio

CA1000/CA2000

54

power performance, the ID14 is ideal for surround sound and immersive audio applications.

The recommended amplification solution is the NXAMP4x1Mk2 Powered TDController, which can power up to eight ID14s per channel. A dedicated setup for each directivity is available on the NXAMP, reportedly ensuring perfect coverage at any frequency. The DTDAMP4x0.7, paired with a DTDcontroller, can power up to four ID14s per channel.

The ID14 is available in various colours

www.nexo-sa.com

Designed to overcome architectural challenges in historic buildings, while providing unobtrusive high-

JBL further pitches its scales EXCLUSIVELY DESIGNED for small and medium applications, the BRX300 is a modular, two-way line array from JBL. The series includes the BRX308-LA line array element, BRX325SP powered subwoofer, BRX308-ACC transport kit, BRX308-AF array frame and BRX308-PM pole mount and adapter kit.

Comprising dual 8-inch LF drivers and a 3-inch titanium compression driver, the BRX308-LA is capable of producing a maximum output of 136dB and 110° horizontal dispersion with variable inter-cabinet

angles for adjustable vertical coverage. With built-in, 1,000W, six-channel amplification that can power up to four BRX308-LA enclosures, the dual 15-inch BRX325SP powered subwoofer extends the low frequency to 32Hz and provides up to 136dB output.

The internal DSP parameters include EQ, filters, driverprotection circuitry and crossover management.

The BRX308-ACC is a selfcontained transport system for four BRX308-LA elements and includes

padded covers for the cart, BRX3255 subwoofer and required speaker cables. Tested for a safety factor of 4:1, the BRX308-AF array frame, on the other hand, supports one BRX325SP subwoofer or up to eight BRX308-LA cabinets in flown configuration. The BRX300 designs are housed in all-wooden cabinets and finished with a Duraflex coating, while the BRX235SP is equipped with integrated casters to simplify transport. www.jblpro.com

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HMD 300

Everything that is important to professionals.

More features for your money The closed, supra-aural HMD 300 supports professionals involved in broadcasting with several smart solutions. Its pressure-sensitive design permits outstanding wearing comfort even during extended sessions. The speech and sound quality are of just as professional a standard as the hearing protection facilitated by switchable Peak Level Protection.

Together with its high level of passive noise attenuation and proven structure borne noise decoupling, the HMD 300 offers substantially more performance than you would expect for the price. www.sennheiser.com/hmd-300-pro

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PRODUCTS

P

HK Audio upgrades to Premium Compact combines flexibility and precision

PR:O 112 FD2 COMPRISING FIVE DSP-controlled, full-range, multifunctional speakers, HK Audio has unveiled the Premium PR:O D2 family of loudspeakers.

Consisting of the PR:O 110 XD2, PR:O 112 FD2, PR:O 112 XD2, PR:O 115 FD2 and PR:O 115 XD2 models, the PR:O D2 series incorporates DSP electronics with advanced FIR filtering. The speakers are capable of producing a maximum SPL of 132dB. Housed in low-resonance wooden cabinets, the two-way designs can be flexibly combined from standalone, 2.1 and monitor setups to full-stack applications where speech intelligibility and transparent reproduction is required. The

PR:O D2 models can be used together with Premium PR:O legacy speakers. The next-generation Premium PR:O D2 line-up has been given a design overhaul with metal front grilles, MultiGrip handles and tilt brackets.

The PR:O 110 XD2, PR:O 112 XD2 and PR:O 115 XD2 are classed as all-rounders by the German manufacturer for use as satellites, compact full-range speakers or low-profile stage monitors. Their well-balanced frequency response reportedly ensures low feedback for adoption in various applications using the Music/Speech controller. The PR:O 112 FD2 and PR:O 115 FD2 are active full-range speakers in the classic 12/1-inch and 15/1-inch formats, providing a balanced sound pattern, speech intelligibility and high SPL. Both are ideal as a satellite in combination with the PR:O 118 SUB D2 subwoofer, although the PR:O 115 FD2 can be deployed for standalone use without an additional subwoofer. The single 18-inch PR:O 118 SUB D2 and dual 10-inch PR:O 210 SUB D2 subwoofers feature stereo preamps and corresponding outputs for use in diverse applications.

CREATED FOR mediumsized installations, Renkus-Heinz has expanded the Iconyx Compact Series with the development of the 12/3-RN single array module. Designed to combine performance and directivity in spaces where larger-format Iconyx arrays may be restricted, the Iconyx Compact Series is characterised by an unobtrusive cabinet that is 40% smaller than the classic Iconyx. Measuring 1m x 111mm x 121mm (HxWxD), the folded aluminium housing can be finished in black or white in addition to customised RAL colours.

In terms of performance, the vertical directivity of the beam-steered line arrays can help overcome architecturally sensitive spaces. Beams can be digitally steered and

www.renkus-heinz.com www.hkaudio.com

Adamson stays faithful to AVB AVAILABLE AS standalone products or as an upgrade to the existing S-Series of sub-compact enclosures with on-board amplification, DSP and Milan-ready AVB connectivity, the CS-Series from Adamson Systems Engineering has been unveiled. Boasting integrated network redundancy, a single cable relays audio and control signals over the Milanready AVB architecture.

Currently, the CS-Series consists of the CS7 full-range array enclosure, CS7p point source enclosure and companion CS118 subwoofer, together with the sub-compact CS10 full-range array enclosure, CS10n narrowdispersion array enclosure, CS10p point source cabinet and companion CS119 subwoofer. Featuring the same form factors as their S-Series counterparts, the compatible sonic signatures also mirror the S-Series and IS-Series for promoting scalable configurations from portable to high-

directed from 800Hz and 400Hz, respectively.

Vertical computer adjustable opening angles vary between 10° to 45°. RHAON II beam steering incorporates URGO beam algorithms, a movable acoustic centre, multiple beamopening angles and highpass filtering of individual beams.

Each of the 12 3-inch full-range paper cone drivers is powered by a dedicated 40W (at 8Ω) digital amplifier, allowing individual DSP parameters, including EQ, filters and delays up to 340ms, to be configured. In addition to analogue and AES inputs, the rear panel includes two RJ45 Ethernet connectors together with looping Ethernet, RHAON or optional Dante connectors. A rear-fixing wall-mount bracket is also included.

performance systems. Any existing S-Series cabinets can be converted to CS models using the turnkey CS Upgrade Kit, removing four screws, connecting the CS Jackplate with the provided wiring connectors and switching the front grille.

Four rack-mounted products also debut as part of the CS-Series.

Containing dual-LAN, Milan-ready AVB, AES/EBU and analogue connections, the CS Gateway is a 16x16 matrix

The CS-Series

The CS10p and CS7p

with 16 channels of DSP. The NDS is a network and analogue patchbay for transmitting redundant audio and control to CS loudspeakers on a single network cable. The PDS reportedly ensures that all CS-Series systems receive enough power regardless of region, while monitoring per power output and overall draw consumption data. The CS Bridge replaces the existing network infrastructure in Adamson’s E-Rack, integrating the CS-Series into existing inventories by converting dual-LAN, Milan-ready AVB signals to AES/EBU and providing six channels of DSP per unit.

Completing the suite, the Canadian manufacturer’s CS software enhances the ability to design, deploy, control and monitor systems in mobile and installed environments. A simplified workflow and an easy-to-navigate user interface moves logically from design and simulation through to patch, control, metering, optimisation and diagnostics. www.adamsonsystems.com

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PRODUCTS

Powersoft expands Duecanali and Quattrocanali ranges POWERSOFT HAS unveiled additions to both its Duecanali range of two-channel amplifiers and Quattrocanali series of fourchannel amps. The new additions include the Duecanali 6404 DSP+D and Quattrocanali 8804 DSP+D, addressing the requirement for small and large fixed install applications where channel count is limited but flexibility and high- and low-Z compatibility are crucial.

Both new models integrate Dante digital audio networking architecture and on-board signal processing, as well as being able to deliver 175 Vpeak. They also both feature Powersoft’s switch-mode power supply with Power Factor Correction, Smart Rail Management and bridgeable switch mode fixed-frequency Class-D circuit topology.

The Duecanali 6404 DSP+D offers the highest power output in the Duecanali series to date – 4,600W, 3,200W or 1,800W per channel at 2Ω, 4Ω and 8Ω, respectively.

In bridge mode, it’s capable of outputting 9,200W at 4Ω or 6,400W at 8Ω. Fully integrated DSP yields system management functionality.

In addition to sound shaping and limiter functions, the DSP hardware and ArmoníaPlus software enable sound system compliance for emergency purposes.

The Duecanali range Occupying just 1U, the Quattrocanali 8804 DSP+D promises smaller dimensions and lighter weight with no trade-off in performance. The unit implements a microprocessorcontrolled power supply with built-in PFC that allows worldwide operation with any AC mains voltage in the 85–275VAC range (tolerant to peaks of up to 400V). Power specifications for the Quattrocanali 8804 DSP+D are 1,800W at 2Ω, 2,400W at 4Ω or 1,600W at 8Ω.

Both products can be connected to networks through standard Cat-5 cables or Wi-Fi. Remote access

via ArmoníaPlus allows for full operability, including monitoring and diagnostics, from a decentralised location.

In other news, Powersoft has announced that its full line of amplifiers will be available for specification within its D-Tools software for systems integrators.

As a result, Powersoft dealers will be eligible for an exclusive, free, 45-day trial of D-Tools Cloud.

The Italian manufacturer has also released new plug-ins supporting

Mezzo Series and its non-DSP install dedicated amplifier platform ranges for the Q-Sys and Crestron control ecosystems. The free-to-download plug-ins reportedly provide userfriendly, network-based control of amplifier functionality via third-party systems. In addition, a new Q-Sys plug-in supporting DSP+D versions of Duecanali, Quattrocanali, Ottocanali, X and T series will be released shortly.

Finally, the Italian manufacturer has gained certification for its amplifiers to be used in PAVA systems according to the European EN 54-16 requirements. With the new certification, businesses can now invest in Powersoft amplifiers not only as part of an entertainment system, but also as a voice alarm system, such as one used in the event of an emergency or fire. www.powersoft.com

d&b enhances performance A NEW set of performanceenhancing capabilities for the German manufacturer’s Soundscape audio platform have been announced. A Soundscape system has three elements: the DS100 Signal Engine, the hardware platform with matrix functionality that can operate in a standalone system configuration mode or be combined with one or both of two software modules; En-Scene, an object-based positioning tool; and En-Space room-emulation software.

The latest feature updates are Scenes, hardware-based scene memory capabilities within the DS100 Signal Engine and for the Soundscape software platform; two new room signatures within En-Space; and a configurable “spread factor” for function groups in En-Scene.

Scenes enables snapshots of all DS100 and Soundscape

parameters (Matrix, En-Scene and En-Space) to be stored within the DS100 hardware memory. Users can create scenes in R1, d&b’s remote-control software, offline without the DS100 for later transfer to the DS100 hardware memory.

These scenes can be recalled from there using R1, but also via OSC commands, either as a direct call to a desired scene number or by stepping through the Scene list step by step using the “Next/ Previous” function.

Two new rooms join the existing seven concert and recital halls in En-Space. With the very short and “dry” reverberation of 1.3s from the Alegrie Theatre and the 5.6s from the Cathedral of San Vitale, users now have two distinctly different rooms from the concert halls already available and these are said to open up new applications and creative possibilities for existing designs.

Soundscape software allows for loudspeakers to be combined into function groups and the new “spread factor” increases the functionality of these groups. With an individual spread factor per function group, users can now adjust how the spread setting of the

objects are handled by the various function groups, determining the energy distribution between the loudspeakers within the different function groups according to the specific needs of the setup. www.dbaudio.com

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PRODUCTS

Dynacord enters The Matrix THE LAUNCH of the MXE5 marks the onset of a new audio matrix mix engine series for Dynacord.

Comprising 12 analogue mic/line inputs, eight line outputs and 24 Dante audio channels, the 24x24 crosspoint performance audio matrix offers both routing and mixing functionalities.

Additionally, the MXE5 serves as a communications hub for all IP-based peripherals, providing comprehensive supervision of all system-wide commands.

Designed for BGM and live audio applications, the MXE5 incorporates

DSP with a sample rate of 96kHz, audio latency of less than 0.22ms, low distortion (<0.002dB THD) and a signal-to-noise ratio in excess of 118dB. The MXE5 also functions as a systems manager, an OCA controller with monitoring and supervision abilities, and a FIR-Drive speaker controller. Third-party integration is enabled via plug-ins to upgrade existing systems for enhanced performance, starting with a plug-in for Q-Sys.

With Dante and AES70-compliant control and no requirement for retrofitted external cards, the matrix mix engine incorporates the entire network infrastructure. Input and output processing features include zone mixing, dynamic EQ, delay, compression, limiting, ducking and de-essing. Future additions will include free DSP configuration, auto mixing, a task engine, Acoustic Echo Cancellation (AEC), Automatic Gain Control (AGC) and Ambient Noise Control (ANC).

Primary and secondary OMNEO ports provide fail-safe operation for flexibly integrating into various network designs. The eight GPIO control ports comprise an integrated multicast filter for controlling the MXE5 over Wi-Fi networks. Remote control operations can be performed with Dynacord’s Sonicue sound system software, which can assign the MXE5 with personalised features, rights management and GPIO configuration.

An optional TPC-1 touchpanel controller can be configured via Sonicue. www.dynacord.com

XX-rated receptacles for IEC 62368-1 compliance BASED ON the speakON connector series, Neutrik has created the speakON XX-receptacle (two-pole and four-pole). As the first speakON chassis to be IEC 62368-1 market compliant, the materials have passed safety regulations ensuring that any materials used in potential ignition sources have a V-O vertical burn classification.

Compliance for devices using existing horizontal burn-rated materials in connector components will

require enclosure of these certified materials in 2021. This makes them potentially bulkier and less likely to be accommodated within the constraints of existing circuit layouts. Using certified receptacle components including UL 94 V-O materials enables device certification to be claimed on the basis that all affected connectors are themselves certified.

For additional safety, Neutrik is also upgrading its cable connectors to meet

Scarlett extended to USB-C iPad Pro THIRD-GENERATION SCARLETT Solo and Scarlett 2i2 interfaces can now be used on USB-C iPad Pro devices in fully mobile, buspowered mode for over several hours. Focusrite recommends the use of a powered connection wherever possible and an appropriate USB-C hub is required for powered operation. Scarlett Solo and Scarlett 2i2 devices have been tested with several

iOS music applications running on USB-C iPad Pros, including Garageband, Cubasis 2, Auria Pro, Ampify Launchpad, Ampify Groovebox and Ampify Blocs Waves in addition to FL Studio. An on-boarding path is available in the Easy Start Tool for assisting iPad Pro users to better familiarise their interfaces.

the standard. Currently, the NL4FC speakON cable connectors are fully compatible with the new XX-receptacle series, with other cable connectors in the process of being updated to meet the specifications of the standard. The speakON XX-receptacle series includes several design modifications, including special copper alloy contacts and tarnish-resistant plating. www.neutrik.com

Strength in Sommer THE LATEST cable from Sommer is an AES/EBU patch and microphone cable with ARAMID fibres worked into the outer jacket for reinforcement named SC-Semicolon 4. This extra strength is said to increase the number of bending cycles the cable is capable of

www.focusrite.com

withstanding, making it a “reliable workhorse”

for professionals.

The design is popular in live applications, in connection with belt pull cable drums on HOW stages. It’s also suitable for connecting effects devices and control units where a return signal is required. www.sommercable.com

A-T updates Wireless Manager WIRELESS MANAGER, AudioTechnica’s macOS/Windows application for remote configuration and control of the manufacturer’s wireless devices, has been upgraded to version 1.1.1.

Updated features reportedly include improved usability, layout and control; enhanced scrolling capability; improved visibility of all

frequency coordinated devices; updated and expanded channel list reports; upgraded user tools; and minor bug fixes. The software is compatible with Microsoft Windows 8.1 and 10, macOS High Sierra (version 10.13) and macOS Mojave (version 10.14). www.audio-technica.com

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How Small? How Light? How Cool!

N-RAY Check out Dynamic Air Flow Cooling (DAC) at www.codaaudio.com WAVL Single Full page.indd 12

25/09/2020 10:39

PRODUCTS

Waves unveils Commercial Audio line THE CA1000 and CA2000 Commercial Audio DSP engines have been launched as the first products in Waves’ Commercial Audio line.

Designed to improve audio playback

CA1000 quality and speech intelligibility in any Dante-based AV installation, the single-box software-plus-hardware turnkey solution incorporates over two dozen Waves processors with pre-configured audio processing presets.

The CA1000 and CA2000 Professional DSP engine units can integrate into both new or existing AV installations that use Dante networking. Nineteen audio processing presets troubleshoot playback quality, speech intelligibility via a wide array of microphones and amplification systems,

feedback elimination and voice processing, reportedly without loss of tonality. The presets can be further customised and stored according to individual room or zone

requirements.

As a result, common problems associated with media playback, wireless mics, pulpit mics and streaming can be overcome.

Once customised, each of the presets can be locked in by the installer for individual channels, groups or zones to deliver optimal results based on the IO, PA and room. The rack-mountable CA1000 and CA2000 can be configured to process up to 16x16 and 64x64 bidirectional audio channels over the Dante network, respectively.

Green Hippo scales new mountains WITH THE advent of the Hippotizer Nevis+, Green Hippo has added a “small yet powerful” media server to its range. Housed in a purpose-built chassis that can fit within carry-on luggage, Nevis+ has been developed in response to an ever-increasing use of visual displays in live entertainment and fixed installations. Including all of Hippotizer’s software features as standard, Nevis+ is described as an affordable solution for use in video creation, visualisation and playback. The half-rack or wall-mount

unit offers one display port 1.2 output with software-based EDID management, two network ports and the latest versions of Hippotizer’s tools, including Shape 3D Mapping, PixelMapper and the multipurpose pre-visualisation tool, all built into its Hippotizer V4 software. Designed for a broad range of less demanding applications, Nevis+ broadens its appeal where logistical and budget restrictions are evident. www.green-hippo.com

It’s a Kind of Magic

Atem 4 M/E Advanced Panel

www.waves.com

Expanded support for Mac platform MAGEWELL HAS extended support for Macs with a new SDK for the manufacturer’s PCI Express capture cards and plug-and-play, external capture devices. The Mac SDK lets third-party developers directly access the advanced capabilities of Magewell capture devices in their macOS and OS X software applications. The company’s USB Capture Gen 2, USB Capture Plus and Pro Capture products are already compatible with OS X and macOS software through native operating system support or universal drivers.

The SDK provides APIs based on the macOS AVFoundation

M

Pro Capture Dual SDI 4K Plus framework for all three product families, while custom Magewell APIs for Pro Capture PCIe cards enable deeper control over capture parameters, access to ancillary metadata and lower latency for capturing video up to 4K at 60fps. Example GUI-based and command line tools are said to help developers get up to speed quickly. www.magewell.com

DESIGNED TO work with all Atem switchers and featuring a traditional broadcast workflow, two new control panels have been created

by Blackmagic Design. Featuring up to four M/Es, 24 separate LCDs for custom button labels, four separate system control LCDs and four T‑bar fader controls, the new panel design can be adopted for both desktop use or inset mounting as a flat control surface.

Incorporating dedicated controls for the largest Atem switchers, the Atem 2 M/E Advanced Panels feature two M/E rows with 20 input buttons and two independent system control LCDs for each row.

Each row includes an independent select bus and can control up to four M/Es in larger switchers, while both rows and all input buttons include LCDs for custom labelling. With four M/E rows with 40 input buttons per row and four independent system control LCDs for each row, the larger 4 M/E model matches the features on the Atem Constellation switcher.

Atem Constellation has separate program and preview busses providing a simpler source switch, while a preview bus selection can be accessed on the aux output or multiview.

Standard SMPTE wipes are included, which can promote edge softening for smooth transitions rather than simple cross dissolves.

The joystick has been included to position the DVE for custom picture-in-picture effects, while the soft knobs and menus on the LCD can be used to adjust the DVE position, size and other DVE features, such as lighting and drop shadow effects. The DVE can be set up to fly graphics into frame or select any of the pre-programed push and squeeze transitions. T-bar control allows transitions to ride as part of the live per formance.

Bypassing the need to work from a separate computer, built-in macros have been added to record custom macros for triggering to playback. www.blackmagicdesign.com

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DE ex an El CV CV ca re zo pr vid IP, ou th 30 an at CV UH si wh to 60 HD se m ha at a co re

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PRODUCTS

Marshall enhances digital workflows DESIGNED TO easily integrate existing HD and UHD video into any IP-based workflows, Marshall Electronics has added the CV730-BK, CV630-IP, CV420-30X-IP and CV355-30X-IP cameras. The four cameras provide a wide variety of resolution options and a 30x optical zoom range. The CV730-BK PTZ model provides up to UHD (3840x2160) video resolutions at 60fps through IP, HDMI and 12G-SDI simultaneous outputs. The CV630-IP PTZ offers the same UHD resolution up to 30fps through IP and HDMI outputs and 1920x1080p (HD) outputs at 60fps through 3G-SDI. The CV420-30X-IP Zoom provides up to UHD resolution at 60fps through simultaneous HDMI and IP streams, while the CV355-30X-IP delivers up to HD (1920x1080p) resolution at 60fps through 3G/HD-SDI, IP and HDMI. An 8.5-megapixel image sensor is common on all four models, with the CV730-BK having the largest size sensor at 1/1.8-inch. In addition to a 12V power supply, a PoE connection further enables remote

CV420-30X-IP

control management in addition to a dedicated RS-232 (Cat-5/6) using Visca-over-IP commands. A 3.5mm audio input enables stereo audio embedding via AAC/G.711 encoding over IP on all models.

Housed within a 1U chassis, the AR-DM61-BT-64DT multichannel digital audio monitor integrates stereo speakers,

a 10-inch LCD touchscreen interface and multiple display modes. The audio monitor adopts both traditional SDI, AES, analogue, Dolby and MADI formats in addition to networked digital formats such as Dante. A built-in web server has been created for saved channel mixes, system settings and updates. A network of up 64 channels can be simultaneously displayed or zoomed in on via a touch of the display.

The AR-DM61-BT-64DT is an audio/ video analysis monitor designed specifically for house of worship facilities, while the AR-DM61-BT-DB version is equipped with a pre-installed Dolby module.

CV630-IP

Marshall has also unveiled two zoom block cameras. The CV420-18X features a compact 18x optical (3x digital) zoom block and flexible 12G-SDI/ HDMI simultaneous outputs with crystalclear 4K images up to 4096x2160p at 60fps, while the CV355-10X features 10x optical (12x digital) zoom block and flexible 3G-SDI/HDMI simultaneous outputs with clear HD images up to 1920x1080 at 60fps. The CV355-10X replaces the existing CV350-10X camera.

In brief, Marshall Electronics has joined forces with high-end pan/ tilt head designer, BRÂ Remote, to design and build a micro P/T head, the CV-PT-Head, for Marshall miniature cameras. The new P/T head is compatible with all Marshall 500 series cameras, including the CV503, CV503-WP, CV506, CV506-H12, CV565 and CV566. www.marshall-usa.com

LQ Series Bring the power and versatility of IP to your intercom system.

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PRODUCTS

Smooth streaming

AOTO keeps it slim

THE UC3022 CamLive Pro is a new video capture and mixer device designed to stream two 4K cameras to a global audience with “seamless transitions and extraordinary image quality”.

Aten reports that the device has been developed to fulfil the growing demand for online worship by allowing users to publish and stream Professional-level content that really stands out.

The UC3022 CamLive Pro combines capturing, mixing, encoding and twochannel video source switching from HDMI cameras and a Professionallevel audio device. With the Aten OnAir

AOTO HAS released the CV Series, a slim version of its mini LED technology. According to the manufacturer, the series is characterised by a smaller LED chip, more stable screen robustness and better sealing and optical design.

Lite Android and iOS app, users can work freely and wirelessly control their video stream while editing it in real time from anywhere and arrange multiple elements into the programme mix with continuous feature updates.

Sources are automatically converted to USB video format in 720p or 1080p, which is sent to the user’s laptop or smartphone via USB. This reportedly helps livestreams and events flow smoothly and stand out from other online content.

This reportedly avoids the problem of damage to ultra-fine pitch LED screens and inaccessible onsite maintenance. The screen benefits from AOTO’s mini LED, HDR boost, Moiré reduction and 110% NTSC ultrawide colour gamut technologies.

Users can place the screen in a large variety of positions thanks to its wide viewing angle of 180° and six-direction adjustment technology.

Manufactured with low-level blue light, the CV Series incorporates “powerful” eye protection and features a lightweight structure design – the cabinet is 38mm thick and weighs 5kg, lowering transportation and installation costs. www.aoto.com

www.aten.com

NewTek unleashes TriCaster 2 Elite

NEWTEK HAS designed the TriCaster 2 Elite video production platform for both video-over-IP and more traditional SDI operations.

The system reportedly enables large-scale campuses to harness nearly every major video calling

application in use today, delivering them a myriad of creative options.

At the heart of TriCaster 2 Elite is a high-speed 60x45 video crosspoint with 32 external inputs that automatically determine video format and resolutions up to

4Kp60. Unlike conventional routing switchers, each input includes proc amp tools, independent keying and cropping for crisper video plus triggers for automation. TriCaster 2 Elite incorporates eight configurable mix outputs in HD or two in 4Kp60, direct NDI outs of media players, multiple streaming encoders, continuous NDI conversion of all eight SDI inputs together with eight independently selectable recorders for immediate replay. The platform can be used to produce simultaneous mixes, deliver multiple 4K streams to different

places at once, feed videowalls and accommodate separate branding and language packages.

The TriCaster control API and automation tools are interoperable with existing equipment such as control room systems, videowalls, multiviewers and media platforms.

Other features include frame sync on every input, animated GIF support in buffers, social media publishing, audio mixing and routing, including support for Dante and AES67. www.newtek.com

AJA expands Mini-Converter family AJA’S FAMILY of 12G-SDI MiniConverters has been expanded with several new models that extend fibre connectivity over long distances (up to 10km) via a single optical cable. FiDOT-12G-ST and FiDO-R-12G-ST provide single-channel conversion between 12G-SDI and ST Fibre. FiDO-T-12G-ST is a single-channel 12G-SDI to single-mode ST Fibre transmitter, with 12G-SDI loop out, while FiDO-R-12G-ST is a single-channel, single-mode ST Fibre to 12G-SDI receiver, featuring dual 12G-SDI outputs. All models include ST connectors and feature compact profiles for small spaces.

The HA5-12G-T-ST and Hi5-12G-R-ST support conversion between HDMI 2.0 and 12G-SDI and ST Fibre.

The HA5-12G-T-ST converts HDMI 2.0 to 12G-SDI for 4K/UltraHD single

The new the 12G-AMA facilitates 12G-SDI analogue audio embedding/ disembedding, with a range of model variations available for transmitting and receiving signals over 12G-SDI BNC, LC Fibre or ST Fibre. It is a four-channel analogue audio embedder/disembedder with support for 12G-SDI BNC input and output up to 4K/UltraHD. Both the embed and disembed functions are simultaneously active, and the supplied breakout cable offers four-channel balanced XLR input and output. The 12G-AMA is also available with 12G LC Fibre transmitter, receiver and transceiver models, as well as 12G ST Fibre transmitters and receivers.

FiDO-T-12G-ST link outputs and includes 12G ST Fibre connectivity for transporting signals over long distances, while the Hi5-12G-R-ST is a 12G-SDI to HDMI 2.0 Mini-Converter featuring 12G ST Fibre connectivity that supports up to 60p for 4K/ UltraHD. HDR support includes HDR10 metadata in accordance with HDMI 2.0/CTA-861.3, as well as HLG over HDMI.

HA5-12G

www.aja.com

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ArKaos MediaMaster adds HDR capability ARKAOS HAS teamed up with Novastar to offer an HDR playback solution based on its MediaMaster 6 video control software platform. The MediaMaster 6 preview version is now available free of charge to all MediaMaster 5 users for three months, after which a paid update will be available.

MediaMaster users can now benefit from all the visual advantages that using NovaStar’s HDR display technologies brings to their work. MediaMaster 6 connects directly to the NovaStar MCTRL 4K Controller – whereas previously, an additional piece of hardware was needed, at extra cost.

This smart integration simplifies the HDR video setups for live events, performance shows and presentations of all types, explains ArKaos, by directly importing the file settings from the LED screen into the media server, making the process quicker and more straightforward for AV technicians.

To aid video mapping, MediaMaster 6 can read direct mapping files generated by the SmartLCT software. Once the setup of the wall is completed with SmartLCT, the information is imported into the MediaMaster 6 video mapper.

The HDR output is available on the Windows version of MediaMaster and needs a recent AMD or Nvidia GPU. www.arkaos.com

PANASONIC’S SOLID Shine series of laser projectors has been extended with the addition of the PT-FRZ60 Series 1-chip DLP model.

Designed to create visible, clear, bright images in well-lit rooms with minimal noise operation, the compact, lightweight projector features a 2x optical zoom to increase throw-distance range for flexible 360° installation. To assist collaborative sessions, the PT-FRZ60 projectors support a 4K signal input

displays can be applied as both a screen and a whiteboard. Available in 75- and 65-inch sizes, the BQ1W Series 4K displays are described as simple to use and encourage collaboration with the option to switch effor tlessly between display and whiteboard mode. All touch and writing capabilities are built directly into the display for easy annotation, bypassing the requirement to load software or add components.

via Digital Link and HDMI terminals with CEC compatibility. The Japanese brand insists that reliable and consistent operation is promoted by virtue of a filter-less cooling system, sealed optics and a dust-resistant laser drive for virtually 20,000 hours of operation. The latest DLP projector is available in black or white housing with variances in brightness between 5,000 and 6,000 lumens.

Designed to maximise limited learning spaces, the BQ1W Series

The CQE1 Series has been launched with seven models ranging from 98 inches to 43 inches. The screens provide detailed images in 4K resolution and enable continuous operation for 16 hours a day. They are equipped with four HDMI/USB Type-C input terminals for high-frequency use and support HDMI CEC RS232C/LAN to control multiple devices externally.

They are also Crestron Connected. business.panasonic.co.uk

Ikegami masters 4K DEVELOPED FROM Ikegami’s high-definition HDL-F3000, the UHL-F4000 has been designed for content creators seeking to futureproof their work by mastering in 4K. Capable of delivering HD cut-out images in addition to 2160p59.94 or 50Hz 4K, the image sensor unit uses three CMOS global shutter elements to ensure no rolling shutter distortion, even in aerial imaging applications where subjects are constantly moving in parallel.

Measuring 100mm x 128mm x 90mm (WxHxD) and weighing 1.1kg, the UHL-F4000’s digital zoom is capable of magnifying from 1.01x to 10x, including gradual acceleration. A focus-assist function places the edge components of the 4K image on the high-definition monitor output feed. Further refinements include a variable

contrast control that can be used during reduced visibility such as fog or smoke. When shooting at night, the camera can be adjusted for optimum noise reduction with high gain, while a vertical image reversal mode allows upside-down mounting.

Aberration correction can be performed using data from the lens servo block, even if the servo block is removed from the lens to be used in the limited space of a gimbal. The camera head consumes very low power as all video processing is performed in a separate base station. A 40Gbps duplex optical fibre connection communicates between the camera head and base station for positioning up to 10km apart. The optical fibre can be integrated into one bidirectional core via an optical circulator and passed through a

UHL-F4000 single-core optical rotary joint used for a small gimbal.

The BSX-100 is a 3G fibre base station offering a coherent upgrade path for users as they progress from SDI to IP, from SDR to HDR and from HD into HD/4K dual-format workflows.

Designed to be fully compatible with Ikegami Unicam HD system cameras, including the HDK-99 and HDK-73 models, the base station provides 3G-SDI/HD-SDI HD output.

SMPTE ST 2110 media-over-IP interfacing is available as an option

for use across 10GbE and 25GbE networks, in addition to a 4K output software key allowing use of HD cameras in a variety of configurations, including simultaneous production in HD and 4K resolutions. Complementary 12G-SDI/3G-SDI quad link interfaces are also available. Housed in a 3U, half-rack, low-mass unit, the base station optionally includes HDR to SDR conversion. www.ikegami.de

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PRODUCTS

Updates aplenty for Ross

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LAUNCHED IN 2019 in a modular openGear form factor, Gator Toolbox offers UHD up/down/ cross and HDR conversion, standards conversion and frame synchronisation for UHD workflows over 12G-SDI. A V2 software update now adds SQD (quad-link gearbox in or out) and user presets to enable operators to quickly recall common configurations. In addition, V2 supports new hardware, including discreet AES audio embedding/ de-embedding and support for fibre.

Software updates to both the Raptor and Newt IP gateway and conversion solutions can also be downloaded.

The latest versions of OverDrive (V19.3) and Caprica (V6.3) are now available. The Audio Lock feature enables operators to lock or unlock specific audio channels so that automation events can be overridden during breaking news or unexpected interview situations.

In addition, new Virtual Keyers and Inputs allow for up to 32 external display devices to be controlled by a single template, without using any primary switcher resources.

Bus-based custom controls have been added to simplify the process of triggering devices without

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intervention. A Live Preview feature lets operators view live video streams in the user interface and interact with sources.

An inverted S2 Lift is available for the Furio SkyDolly ceiling-mounted, rail-based robotic camera system.

Providing dramatic camera motion

shots from above, the S2 Lift is capable of supporting a full-size camera and prompter, creating dolly shots with up to 48.3cm of vertical lift and net payloads of up to 30kg.

The two-stage lift mechanism limits flex and minimises sway, while the linear rail design means that the

SkyDolly can be used in virtual set applications.

A free control system for Furio and CamBot pan/tilt heads and pivot PTZ cameras is available as a plug-in to the Ross DashBoard control system. Operators can store, recall and manage their robotic presets, and all axes are controllable onscreen without the need for a physical joystick. Key settings such as joystick limits, colour balance, exposure and streaming settings are all accessible.

Finally, the live production real-time graphics platform, XPression, has been updated with V10, including a multi-threaded video codec that supports UHD, HDR and Wide Colour Gamut. www.rossvideo.com

LivePremier updated ANALOG WAY has released software version 2 for its LivePremier range of 4K/8K multiscreen presentation systems and videowall processors. The update includes dozens of new features and enhancements for all Aquilon systems, including real-time SDR/HDR conversion, boosted input and output capabilities, improved multiviewer and auxiliary functionalities and a more intuitive and efficient Web RCS user interface.

All LivePremier systems are now compatible with the BT.2020 Wide Colour Gamut (WCG) as well as the HDR10 and HLG standards.

They accept simultaneous sources of different types (SDR, HLG or HDR10) and convert them without any added latency to the desired standard. This conversion is said to allow for all the sources to look correct and to mix HDR and SDR content in the same screen without requiring any additional outboard converters and adding any latency.

A new input and output group management reportedly allows significant savings in processing resources. The number of layers available can be doubled, even

displays). Supporting 4K input and output signals over one, two or four cables allows the internal processing to use a unique 4K pipeline instead of four HD

The LivePremier Series tripled in certain cases, for large displays combining several outputs in full HD (LED walls or multi-projector panoramic

pipelines. For example, a single 4K source can be used as the background for a group of four HD outputs.

The LivePremier systems are now compatible with the DPH104, Analog Way’s 4K video processor, allowing a DisplayPort 4K60 output signal to be converted to four independent full HD outputs. In the case of a large display application requiring multiple HD outputs, combining the DPH104 with an Aquilon will reportedly save processing layer resources and increase the number of synchronised full HD outputs directly controlled by a single chassis (up to 48 full HD outputs in the same screen for a fully loaded Aquilon C+).

Numerous improvements and features have also been added to the on-board HTML5-based user interface in order to make it “even more intuitive and efficient”. Among the new features, version 2 of the Web RCS now offers simplified configuration, password protection, resizable workspaces and custom views memories. www.analogway.com

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Ayrton starts a Domino effect AS THE first fixture in Ayrton’s new series of LT (Long Throw) products dedicated to long-range applications, the Karif-LT is an ultra-compact 300W LED beam-spot. Equipped with a 168mm frontal lens offering a zoom ratio of 17:1 and 2.8–47° zoom range, the narrowness is a distinguishable feature of this LED. The high-efficiency, low-etendue, compact LED module delivers an intense beam which, calibrated at 8,500K, can reportedly generate metallic white light and deep, vivid colours. Karif-LT has an overall output of 13,000 lumens at a colour temperature of 7,500K and a centre-beam luminous intensity of 3.5 million candelas.

Other features include a CMY colour mixing system, a multiposition CTO wheel with seven different colour correction filters, a wheel of 13 complementary colours for infinite pastel hues and saturated colours, nine interchangeable rotating HD glass gobos and a wheel with 39 fixed gobos. Karif-LT also has a glass monochrome multi-position, bidirectional effects wheel and a prism effect system comprising

Karif-LT

Domino

four combinable rotating prisms for creating complex effects.

Standard features also include light and heavy frost filters, a dynamic animation effect with speed and fade adjustment and an electronic dimmer for per fect fades.

Capable of delivering 51,000 lumens from a 1,000W LED source, Domino combines the output and optics of Huracán-X in an IP65-rated body for outdoor

applications. Equipped with a liquid-cooling system of six IP68rated submersible fans outside its weatherproof enclosure, the fixture is fitted with a 178mm frontal lens. Its optical system uses 13 lenses, producing a 10:1 zoom ratio and a zoom range of 6–60°. The optics deliver a uniform flat beam with no hot-spot to reproduce high-definition images over the entire zoom range.

Domino comes with a subtractive CMY colour mixing system combined with a variable CTO and a wheel with six colours for pastel and saturated colours. The framing section allows accurate positioning of each of its four shutter blades across a 100% surface area, while the image section includes 14 interchangeable HD glass gobos on two wheels.

The effects section contains two dynamic effects wheels with continuous movement in both directions, a CMY multi-layered wheel for creating multi-coloured effects, a standard monochromatic effects wheel, a 15-blade iris diaphragm, two frost filters, CRI and TM30 optimising filters, two rotating prisms, a dynamic sparkle effect with speed and fade adjustment and an electronic dimmer. The 52kg fixture is available in S and TC versions – the former delivers metallic white light at a colour temperature of 7,000K, while the latter is calibrated at a colour temperature of 6,000K with a CRI greater than 90 and high TM30 readings. www.ayrton.eu

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PRODUCTS

Lighting on command MA LIGHTING has launched a new member of its grandMA3 onPC solutions range. The grandMA3 onPC command wing XT is described as a versatile solution for smaller and mid-sized installations. It uses the same interface as other grandMA3 consoles and allows new users to learn the MA user interface and later switch between this solution and other grandMA3 consoles.

The grandMA3 onPC command wing XT enables users to program, play back or back up within the grandMA3 world. It comes with 10 motorised faders, 40 physical playbacks, 16 assignable x-keys and a dedicated master playback section. The solution incorporates the command section of grandMA3 consoles to reportedly make it easier to use the grandMA3 onPC software. All inputs and outputs of a grandMA3 console are available to the user. DMX, Midi, Ethernet, Timecode and Remote Control are

all on hand directly. Additionally, it has four individual monitor outputs, allowing users to tailor it to best suit their needs.

The solution provides the maximum number of parameters available for grandMA3 onPC solutions: 4,096 parameters with two DMX outputs and two Ethernet Gigabit connectors included for DMX over Ethernet protocols. A total of 1,024 DMX universes can be assigned to any of the physical DMX outputs or transmitted via MA-Net, sACN or Art-Net. Alongside the grandMA3 onPC command wing XT, there are two onPC options: the grandMA3 onPC command wing, said to offer the best grandMA3 mobile solution, and the grandMA3 onPC xPort Nodes, which reportedly provide a more cost-effective DMX output solution for software-only show control. www.malighting.com

Elation adds to KL series

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A FULL-COLOUR-SPECTRUM a stand or suspended using any soft light has been added to standard clamp or the included Elation Professional’s KL series Junior pin adapter. of LED luminaires. The KL The fixture can be powered Panel has been optimised for remotely through its integrated fourthe colour temperature-adjustable pin XLR 24–36 VDC battery input requirements of live productions and (battery not included). Professional is described as an ideal key and fill control options include DMX, Art-Net and sACN. It light source for any situation can also be requiring outstanding controlled performance and manually colour quality. using the The KL Panel included uses a 295W encoders RGBW + Lime and OLED + Cyan display, LED array reportedly to produce providing soft white or instant full-colour washes control of up to 24,000 field intensity, lumens at a 100° colour half-peak angle. It temperature, has a CRI of over green shift and other 95 and colour temperature KL Panel settings. The integration of is adjustable from Elation’s E-Fly wireless DMX 2,000–10,000K. Additional system is said to allow for even colour tuning is possible through a more flexibility of use. green-shift adjustment and virtual To complement its growing line gel library. of special effects machines, sister Other features include smooth company Magmatic has unveiled a 16-bit dimming all the way to zero new line of fluid called Atmosity. The and 16-bit selectable dimming curve universal fluid has been specially modes for programming ease, as formulated for use in Magmatic’s well as electronic strobe. Adjustable Magma and Thermatic haze and fog and removable eight-leaf barn doors machines, Polar snow machines, allow for customised shaping of the Rocket CO2 cryogenic simulation beam for more precise illumination effects and other specialty effects and less light spill. It also has a products.

900Hz – 25kHz LED refresh rate adjustment for flicker-free operation. www.elationlighting.com The luminaire can be mounted on

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Chauvet unleashes the imagination WITH THE introduction of the F6 Strip IP linear video panel, Chauvet Professional reports that designers will have more freedom to create video displays in a wider variety of configurations. Measuring 1m x 3.45cm x 6.82cm (WxDxH), the outdoor-ready product can reportedly fit in tight spaces, add an extra dimension to set pieces and be arranged in unique patterns, making it suited for applications such as drive-in shows and livestream productions.

A high-resolution 6.9mm pitch strip, the F6 Strip IP is compatible with all of Chauvet’s F series panels, allowing it to display the same

images as other video pieces on the stage. It works with the VIP Drive 83R Nova, using the NovaStar control protocol. The VIP Drive 83R Nova can auto-detect F6 Strip IPs

F6 Strip IP when they’re plugged in, making it easy to drag-and-drop into the mapping software. The strip’s blackbody LEDs reproduce video at 15-bit grayscale. Other features include

a 5,000:1 contrast ratio and a 5.94kHz refresh rate,

as well as stealth and soft white diffusion filters.

The F6 Strip IP maintains its pixel pitch for 0° end-to-end linking, as well as for mounting units next to one another. A viewing angle of 160°/155° (H/V) and a resilient LED mask design reportedly present clear images to audiences from any seat in the house and a 5,500 NITS output is said to ensure that images can be seen easily, even during daylight hours.

The panel features rugged aluminium extrusion housing and is easy to install thanks to its flexible mounting options, which include adjustable brackets on each side. Up to four strips can be suspended from a single rig point using the end brackets.

In addition to its IP65 rating, the F6 Strip IP includes panels that are convection cooled to optimise heat dissipation for even colour distribution. It also has a dedicated compact power supply for enhanced stability over extended use. www.chauvetprofessional.com

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PR Lighting move outdoors WITH THE unveiling of the Aqua Marine 580 BWS and Aqua Marine 580 Beam moving heads, PR Lighting has added two new IP66-rated outdoor moving models.

A double-layer special coating of the chassis accompanied by PR’s sealing system reportedly makes the marine-grade fixtures resistant to a wider range of corrosive media, such as dust, rain or sea water.

Housing either a Philips MSD Platinum 25 R lamp or Osram Sirius HRI 550W XL, both the Aqua Marine 580 BWS (PR-2596) and 580 Beam (PR-2568) are fully featured. Colours include a CYM linear mixing system with macros, a colour wheel with 12

colour filters, Rainbow effect with bidirectional and variable speeds and stepping/linear colour changing while the filters can be in any position.

Both moving heads accommodate one fixed gobo wheel and a rotating gobo wheel with seven interchangeable rotating gobos, bidirectionally rotatable and shakeable at variable speeds. There are four different facet prisms, which can be overlapped. The graphic effects wheel offers bidirectional rotation with variable speeds and can be overlapped with the fixed and rotating gobo wheels. Features also include an independent frost filter.

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Other functions include DMX linear focus and zoom, 0–100% dimmer and double shutter blade strobe. Head movement consists of 540° (pan) and 270° (tilt), with auto-position correction. The 580 BWS’ light angles are 0–2° (beam), 2–40° (spot) and 3–50° (wash). The 580 Beam has a dedicated 2° beam angle. Ancillary features include adjustable pan

and tilt speeds, lamp/fixture hours displayed, RDM protocol, optional Art-Net and wireless DMX512. Marinegrade corrosion and neutral salt spray resistant for up to 1,500 hours, the dust- and waterproof cast aluminium fixtures are also resistant to high temperatures. www.pr-lighting.com

ETC adds to ColorSource family Prepared for the elements

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WEIGHING JUST 5.5kg, ColorSource Spot jr is nearly half the weight of a full-sized ColorSource Spot fixture.

Spot jr is available in two array options: Original for subtle pastels and white light to enhance skin tones, and Deep Blue, for more saturated, dramatic colours. Like all ColorSource fixtures, Spot jr includes ETC’s colour integrity technologies, which, according to the manufacturer, ensure that colours set in rehearsal are the same colours in the show.

This includes thermal droop compensation, third-party lifetime

testing and factory colour calibration.

ColorSource luminaires feature a four-colour mixing system said to offer “bright, vibrant colours and perfectly mixed pastels”.

Spot jr has a built-in 25–50° zoom, which is ideal for small stages or installations. ETC reports that longer throws and short trim heights make this an all-purpose luminaire. The manufacturer is providing a five-year warranty on the entire fixture and a 10-year warranty on the LED array. www.etcconnect.com

MARTIN PROFESSIONAL has expanded the ELP Series of LED ellipsoidal fixtures with IP65-rated models. The Martin ELP WW IP (warm white) fixture provides colour rendering and brightness, while the ELP CL IP (colour) delivers saturated colours.

Providing the same quality of light and performance, the IP65-rated variants now offer water resistance and dust protection.

The ELP WW IP delivers 7,000 lumens of output and 97 CRI at 3,000K colour temperature, while the ELP CL IP offers 6,900 lumens and a CRI of 85 in highoutput mode and 5,900 lumens and 90 CRI in high-quality mode with a colour temperature of 6,000K (open white). Both models offer flicker-free operation for consistent light output on and off camera.

Other features include a gear-based Fine Focus adjustment knob and Fast Focus, which allows fixtures

ELP CL IP

to be focused without data flowing to it. ELP IP also offers 16-bit dimming with four selectable curves and 26 colour presets that match colour filters. Available in black or white, ELP IP fixtures can be configured from a choice of four Martin lens tubes with static beam widths or two recently released zoom lenses. www.martin.com

Flooding the stage with light DESIGNED IN a low-profile form factor to meet applications at both the front and sides of the stage, the EclCyclorama 100 from Prolights is a soft-edge, linear cyclorama and floodlight equipped with a custom and calibrated RGB + warm white LED source. It provides a linear and high-quality white reproduction of the entire spectrum with high CRI, TLCI and TM30 performances.

The optical system has been designed to offer a wide asymetric

EclCyclorama 100 beam angle. Prolights reports that the EclCyclorama 100 is a very flexible solution, suitable for applications where fixtures are

connected to each other or separated by a considerable distance, without the worry of dark edges or gaps. The floodlight is described as user-friendly

and reportedly offers a multitude of control possibilities, such as DMX, RDM, Art-Net, sACN and wireless DMX. It has a slim design at 12cm high and comes with tilt angle adjustment, beam control and flexible hanging and stacking options.

With all the characteristics of its sibling, the EclCyclorama 050 is a 170W linear soft CYC and floodlight with RGB + warm white colour mixing. www.prolights.it

November–December 2020 WORSHIP AVL 61

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THE TECH VIEW

Reopening for worship As lockdown restrictions ease, director of music Catherine Allen highlights how services at All Saints in Crowborough have evolved to enable worshippers to return Director of music, Catherine Allen ALL SAINTS, CROWBOROUGH IS A vibrant, conservative evangelical Anglican church in East Sussex.

Pre-lockdown, we had four or five services each Sunday with a range of musical styles, from a robed choir to contemporary worship bands. On an average Sunday, we would have around 450 adults attending, with 220 adults plus children at our largest service, and room for 360 chairs. At the beginning of August, we stopped pre-recording our services for YouTube streaming and returned to services in the building.

We continue to have four or five Sunday services but with changed

New cameras have recently been installed

Socially distanced seating timings and styles to provide maximum choice for our church family within the space available. At 8.30am, a traditional-style Communion service replaces our 8.00am Communion and 9.15am Morning Prayer. Two All Age services follow at 10.00am and 11.15am and we hope to recommence our children’s church in November. A monthly 4.00pm Communion service replaces our normal Evensong, providing a later Communion service for those who find 8.30am too early. Our 6.30pm contemporary evening service remains as pre-lockdown – thank the Lord something has stayed the same.

Church members can book online via ChurchSuite from each Tuesday morning until the service begins. A few places are reserved for visitors to just walk in and, encouragingly, they

have. Visitors have also booked over the phone. Although our large church enables us to have just over 100 people in socially distanced groups, achieving that number depends on exactly the right group sizes coming.

Actual numbers are around 35 to 60 at each service.

Our services have been made shorter – around half an hour – and all the liturgy and words to hymns and songs are on the screens, avoiding potentially infected paper. We start and finish with a hymn or song and have a 10–12 minute sermon. At our All Age and evening services, many worshippers lip-sync under their masks but we also incorporate Makaton signing into many songs which helps people engage in worship and supports our aim of being an accessible church.

Communion has also seen changes, with the clergy wearing masks and visors and going out to the congregation to distribute the bread which is dropped by blue-gloved hands into the cupped hands of the communicants. The peace cannot be shared by greeting one another but our congregations enjoy being able to see each other as they exit church and some form socially distanced groups on the green in front of the church to catch up.

During lockdown, we were able to witness to the gospel through online church. A local care home has been streaming the services in its residents’ lounge. We had an amazing response from a lady who had been unable to attend services for some years through illness. Now, she was able to worship again online.

As lockdown eased, we returned to church using somewhat clunky and difficult-to-operate equipment and realised that updating our camera and streaming equipment to improve the quality would be worth the investment.

We approached Mark Willetts of Ashdown AV as he had designed our successful audio system last year.

We decided not to opt for the most expensive option as it would be both out of budget and require camera operators in the building, causing distancing issues. We have therefore opted for two static cameras, a Lumens

VC-A51SB PTZ which has up to 128 presets and a fixed Datavideo BC50.

It has recently been announced that we can have live music. This provides new challenges for mixing, both in-house and livestream, and also picking up the organ which, although electronic, does not feed through the main desk. Guidelines also require that we quarantine mics used for singing for 72 hours so we need to have sufficient for each person using them on a Sunday or services during the week.

Equipment must be cleaned after use and therefore our three Sunday morning services are served by the same team.

The safety of our operators is paramount and so where possible people serve with family members and we do our best to protect each other. Most of our operators had not previously used OBS, the programme we use to livestream to YouTube, or the cameras, so we have had to train with our own video. This has been successful alongside some written instructions kept in plastic pouches which can be easily cleaned. We are blessed with an amazing team of operators who have been working really hard to adapt to the changes that the new ways have brought, enabling our congregation to worship whether they are in the building or at home. www.allsaintscrowborough.org

The church’s Allen & Heath SQ7 sound desk

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80

years of passion compiled into a speaker

Best Sound Performance Out of the Box 2-Way Passive Speaker System - SR-F04/SR-F08 The model SR-F04 and SR-F08 are pre-tuned with TOA's Sound Philosophy formulated through over 80 years experience in sound engineering, which achieves the best sound performance out of the box. These powerful 2-way speakers are ideal for the use as main speakers in small or medium-sized auditoriums or as auxiliary speakers in large music halls and places of worship.

We supply sound, not equipment. www.toa.com.sg I www.toa.eu I

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Elevation Church - Charlotte, NC, USA

ENGAGE YOUR CONGREGATION SOUND SOLUTION FOR HOUSES OF WORSHIP

L-Acoustics systems are renowned for their uniform, full-range, natural sound. Our flexible, lightweight systems project crystal clear sound to your congregation, avoiding reverberant architecture. From the front row to the very back, your worshippers will never miss the message. Generous power ensures each congregant has the feeling of being in the heart of your music. Let our sound systems help you achieve maximum engagement for your house of worship. www.l-acoustics.com

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