Worship AVL November-December 2021

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST November–December 2021 November–December 2021

FAITHFUL AUDIO Masjid Istiqlal commits to TOA

HYBRID SERVICES

ANALOGUE TO DIGITAL PART 2

MICA (P) 009/05/2021 PPS 1644/05/2013(022954) Singapore: MICA (P) 009/05/2021 PPS 1644/05/2013(022954)

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Contents Issue 73

November–December 2021

NEWS AT THE FOREFRONT OF SOUND Enjoy Church welcomes DiGiCo and KLANG

4

LIGHT TRANSFORMATION Ayrton upgrades services at Transformation Church 6 BIG DIFFERENCE DWR installs new lighting at Ebenezer International Centre 8

Editor’s note

Email: kwallace@worshipavl.com

HARMONIC UPGRADE dLive and SQ in harmony at Guildford Baptist Church 9 HIGH ENERGY Alcons supplies power and clarity to Hope Church

10

STEPPING UP Meyer Sound elevates services at Discovery Church

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PERSONAL TOUCH NEXO delivers sound system at Stockton Parish Church

13

LED LIGHTING All Nations Church takes delivery of an ADJ rig

14

LINE ARRAY SOLUTION World Outreach Church installs L-Acoustics’ K3i

15

PROJECTS LIGHTING THE WAY Elation helps Florida church rebuild after hurricane

16

EVEN COVERAGE d&b’s V10P covers the room at Matamata Baptist Church

18

COVER: FAITHFUL AUDIO A full TOA system fills the Masjid Istiqlal

20

SETTING UP SHOP 3Ci moves to a permanent sanctuary with help from DWR

24

REFLECTING NOISE L-Acoustics keeps sound off the walls at Christ King Parish 26 JOURNEY OF FAITH KingsGate invests in a new DiGiCo Quantum 338 console 28

KNOWHOW ANALOGUE TO DIGITAL PART 2 Gordon Moore makes the transition

30

CHURCH STAFF Casey Hawkins asks, what makes a video expert?

32

RE-FOCUS John Black sheds light on what’s important as the new year beckons 34

TECHNOLOGY GOING HYBRID One event, two spaces – how hybrid services are a hot topic

We’re lucky enough to have access to some of the most stunning mosques you’ll ever see and our cover feature is one of them. Masjid Istiqlal in Indonesia can hold over 120,000 worshippers – although it’s the largest in Southeast Asia, it’s only the sixth largest in the world. TOA SR-S4S columns are discreetly fixed to the 12 vertical metallic framework pillars representing the birthday of the Islamic prophet Muhammad in the main prayer hall, while the extensive grounds comprise a large number of TOA weatherised outputs.

While Covid restrictions are being eased in some countries, they’re being reintroduced in others. But we’re old hands at this now – the past 18 months has allowed us to adjust to both in-person and at-home services and switching between the two is hopefully becoming easier. However, with no end in sight to the pandemic, many HOWs are starting to look to the future and embrace a new pattern of hybrid services. Our article on page 36 will help you consider whether it’s time to upgrade your AVL systems to accommodate both types of worship.

Continuing with the hybrid theme, Veset CEO Igor Krol looks at how video is helping religion reach further in his article on page 40. Livestreaming not only connects in-person and at-home worshippers but statistics seem to suggest that livestreaming church services leads to growth, particularly among the younger generation. Krol discusses how cloud pro video tools are making broadcasting more accessible for smaller HOWs. I hope you enjoy the issue.

IN THIS ISSUE

36

REACHING OUT Veset’s Igor Krol on how churches can reach bigger audiences 40

10

COLOUR MIXING Bob Mentele unlocks the creative possibilities of colour mixing 42 PRODUCTS Equipment launches and updates

44

THE TECH VIEW Vox Church’s Eugene Mulcahy is invested in the future

58

Contacts

18

26

28

GENERAL MANAGER Richard Lawn T: +44 1892 676280

ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

CONTRIBUTING EDITOR Caroline Moss T: +44 1892 676280

SENIOR REPORTER Simon Luckhurst T: +44 1892 676280

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

rlawn@worshipavl.com

sgould@worshipavl.com

cmoss@worshipavl.com

sluckhurst@worshipavl.com

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

CIRCULATION Marne Mittelmann F: +65 6491 6588

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

abaker@worshipavl.com

nsmith@worshipavl.com

cyardley@worshipavl.com

circulation@proavl-asia.com

ssu@worshipavl.com

COVER: Masjid Istiqlal PRINTER: Times Printers Singapore LICENCES: Singapore: MICA (P) 009/05/2021 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

Forefront brings the power of Quantum to Enjoy Church AUSTRALIA

The new DiGiCo Quantum 338 at Enjoy Church Forefront Productions has assisted the technical production team at long-term client Enjoy Church in Sunshine, Victoria, as it prepared for its Adore 2021 Women’s Conference. The HOW hosts the Adore Conference annually and Forefront has been onboard since its inception 13 years ago. Adore

2021 presented Forefront with an ideal opportunity to road test its newly acquired DiGiCo Quantum 338 and KLANG immersive in-ear mixing system.

“It was great operating our new Quantum 338 on its inaugural outing,” said Nick Burns, Forefront’s managing director. “After what seemed like a year

of worldwide lockdown, it was such a joy to get behind the new console and put into practice a lot of my workflow revisions I had been conjuring.

“Mustard processing opens up a whole new range of options and colour for the sonic palette, and we’ve had fantastic results with Nodal processing – it’s such a great feature to exploit – and the recently updated spice rack is sure to prove a favourite. The ergonomics and workflow of the 338 are also great; the new screens and scribble strips are responsive, clear and tactile.”

The event also saw Forefront provide musicians with 3D monitoring thanks to KLANG’s immersive mixing system, providing performers with a 360° in-ear listening experience. “We’re very excited about the application of KLANG for many of our installation and church clients,” continued Burns, “firstly, for its great user control interface and secondly for its sonic impact. For many of our

installation and church clients who have challenges with the time to spend on pulling great in-ear mixes, the instant spatial impact of KLANG gives so much separation and clarity, instantly allowing musicians unprecedented mix quality. Not only that but mixes can be saved, even song by song.”

Run via a KLANG DMI card inside a DiGiCo Orange Box, Forefront made use of the immersive mix technology through a DiGiCo SD9 console, which was set up as the event’s stage monitoring. “We’re already seeing a lot of positive feedback from our use of KLANG,” added Burns. “It was great hearing chatter from the musicians and singers backstage on how they could suddenly hear everything, but at the same time felt their own performances were cutting through the mix.” www.digico.biz www.klang.com

FUMC puts audio intelligibility first USA Constructed over 100 years ago, First United Methodist Church (FUMC) in Prattville, Alabama, has spent the last 12 months refurbishing and renovating its sanctuary. The works included restored systems that will better meet the needs of its 1,000-strong assembly and provide for a wider range of service presentations and performances.

Key to the upgrade is an audio system that provides clarity during live performances and intelligibility for spoken word services.

For designing and installing the new audio system, FUMC turned to AV and lighting supplier JM Anderson at Auburn AV. Previously, the church had used a variety of loudspeakers dating back to the 1970s that greatly varied in size and performance. In turn, the large speaker collection prevented the space from carrying a clean and uniform aesthetic in addition to poor quality sound performance for the congregation.

“Acoustically, the sanctuary is very reverberant,” commented Anderson. “It has stained-glass windows, hard walls,

floors and sloped ceilings. Our main goal was to employ a digitally steerable sound system that could focus down

services offered by the Californian manufacturer. Possessing extensive experience of digitally steerable arrays,

on the congregation and away from the reflective surfaces. The Renkus-Heinz ICLive X system was a perfect fit for this project as it delivers excellent, controllable audio with great coverage from a small footprint.”

The Auburn AV team took advantage of the Loudspeaker Recommendation

local representative Richard Hembree oversaw the initial design until it become a commissioned system.

“In addition to the need to avoid reflective surfaces such as the large balcony face and tall plaster walls, this sanctuary has three distinct audience areas,” explained Hembree. “The

ICLive X system allows the reinforced sound to focus as needed to evenly cover the congregation with a high level of intelligibility and full-range audio in the high balcony, low under balcony and wide near-field area between the platform and the balcony.”

Working with Hembree to finalise the specifications, Anderson and the Auburn AV team installed an L-R array, each consisting of one ICLive LX, one ICLive X and one ICLive XL module. The resulting 0.25m x 2.5m (WxH) array is capable of pattern control below 200Hz. Extending the LFs when required, a pair of Renkus-Heinz dual 12-inch PNX212 subwoofers are discreetly located under the platform behind a grille cloth.

“We ended up with a high-intelligibility audio system with minimal interaction between the reinforced audio and the room,” finalised Anderson. “The room can remain live and rich for the organ and choir, yet at the same time have very high speech intelligibility.” www.renkus-heinz.com

4 WORSHIP AVL November–December 2021

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Blackmagic Studio Cameras have lots of connections for connecting to both consumer and broadcast equipment� All models feature HDMI with tally, camera control and record trigger, so are perfect for ATEM Mini switchers! The advanced Blackmagic Studio Camera 4K Pro model is designed for broadcast workflows so has 12G-SDI, 10GBASE-T Ethernet, talkback and balanced XLR audio inputs�

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NEWS

Transformation Church upgrades services with Ayrton USA Transformation Church (TC), a multiethnic, multi-generational, missionshaped community outside Charlotte in Indian Land, South Carolina, has added Ayrton Levante fixtures to its inventory of equipment. The HOW acquired the fixtures from SES Integration, a division of Special Event Services located in North Carolina.

Zach McCrorey, lighting designer and production director at TC, admits that he arrived “slightly sceptical” at the Levante demo set up by SES Integration since he’d never used an Ayrton product before. “But after being introduced to the product line, my scepticism was a thing of the past.

I was blown away by the features housed within the Levante and left the demo deciding that the Levante was a top contender among the fixtures we had researched.”

TC removed all incandescent fixtures to make room for seven Levante units.

“What a world of difference these fixtures have made,” he declared.

“The Levantes have been an absolute game changer, and the quality of our online experience has been raised

tenfold. In conjunction with our most recent broadcast camera upgrades, our key lighting infrastructure had to be enhanced as well. Now, our team onstage is lit so incredibly well in person, and that translates beautifully through the camera lens to those

watching from home. Also, there are multiple broadcast locations within our auditorium – from the main stage to the broadcast host location to our baptistry area – and utilising the very smooth framing shutters has made highlighting any area a breeze.

“As our community is multi-ethnic, being able to light diverse skin tones quickly and correctly is important,” he added. “Levante’s colour palette mixes very well, and the colours displayed are crisp. The fixture is quiet and quick in response. But what is truly mind-blowing is how compact it is. We utilise a single-man lift for all strike and installation of lighting fixtures, so weight was an important factor in deciding which fixture to purchase. We were thrilled to learn that this fixture came in under 23kg.”

McCrorey reports that TC is “incredibly pleased with the purchase we made and the powerful performance delivered by the Levante fixtures. I’m looking forward to getting my hands on a few more Ayrton products very soon.” www.ayrton.eu

d&b helps unite tradition at St Mary’s

UK With traditional and informal bandled worship at its heart, St Mary’s, Hampton is a growing church with a thriving online congregation. Reverend Ben Lovell, who arrived at St Mary’s in West London four years ago, inherited a sound system that he described as unsightly – “big black speakers nailed to a historic war memorial. The system was muddy, the volume would change, the band was very loud,” he explained.

A self-confessed audio enthusiast, Reverend Lovell used to run the sound engineering for The Boy’s Brigade main worship band. “So, I like good sound,” he said. When long-awaited improvements became

possible, dependable audio became part of the project. “It was about us not having an amateur system that had been pieced together, but rather

having one that was top notch – a professional system. I also wanted good bass response because it gives music a warmer tone and people enjoy it. We interviewed three companies and really felt that [AV production and installation company] SFL understood what we were trying to do.”

“We were able to guarantee the main features of the church would not be dwarfed by a speaker system,” confirmed Andy Felix, project manager at SFL. “For their power and price efficiency, we selected products from d&b’s installation-specific range – the xS-Series point sources and

the xC-Series columns. Because these systems match tonally – and conveniently came painted white as standard – we designed a solution that not only gives every member of the congregation the same sonic clarity, but also blends sensitively into its surroundings.”

Although streaming wasn’t a consideration when the church embarked on its renovation, Reverend Lovell has embraced what it can do.

“What SFL have done is they’ve given us enough tools that we’re able to do it well. We’ve been able to keep the live sound live. And we’re seeing new people engage in our online services, again and again. People are getting to taste a little bit of what church is like before they cross the threshold.”

St Mary’s is now looking to the future and new ways to connect with the local community. “We’re talking about trying to offer ourselves as a concert venue, to make us a cultural hub but also, of course, to raise some money,” continued Reverend Lovell.

“One of my visions for the church is to be more modern, but more traditional at the same time, and, thanks to some great teamwork, we’ve definitely achieved that.” www.dbaudio.com

6 WORSHIP AVL November–December 2021

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06.09.2021 13:09:22 24/09/2021 10:04

NEWS

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Simple lighting makes a big difference to Ebenezer International Centre SOUTH AFRICA A cost-effective solution has assisted Ebenezer International Centre in Gqeberha to improve the stage lighting in its 1,700-seat auditorium, as well as the quality of its online broadcast. The new installation by DWR Distribution includes a simple setup of 4m x 4m Prolyte trussing, 16 Longman F4UP PAR cans and a Le Maitre MVS Hazer while utilising the church’s existing infrastructure and equipment.

Senior Pastor Neville Goldman started the church around 40 years ago, opening the large auditorium in Algoa Park in October 1998. With the onset of the pandemic, the church invested in two cameras to improve the quality of its online Sunday service. “One thing the Lord has asked us in times of uncertainty is to be consistent in our approach and to be loyal,” said Brenton Goldman, youth coordinator at the church. “We present daily messages online using the WhatsApp platform.

For our community, WhatsApp is the most used and cost-effective form of communication, and we have seen an increase in our online presence more than ever before.”

Ebenezer Community Church is structured with smaller groups within

the large church. “We focus on a House of Peace system where, in smaller groups, WhatsApp is used to encourage people, share sermons and for worship sessions,” added Goldman. “We had to be creative during this time. We are growing and seeing God’s people connected to the body of Christ. I know that many churches have experienced this, but we are constantly seeing God’s faithfulness and we have a faithful congregation.”

When Brenton first investigated ways to improve the online service, he reached out to a long-time friend in the ministry, Pastor Peter de Fin of The Acts Christian Church in Midrand, Johannesburg.

“Pastor Peter said he knew the right guys for us to work with who would not just install lights but show us how lighting could work in a church,” said Goldman. “Having already received quotations for well over R300,000 from other companies, we met up with Robert Izzett from DWR, who gave us an analogy. We needed a lighting system that had to be somewhere between a Ferrari and a City Golf. He came up with a perfect solution.”

Prolyte X30D truss pieces have been installed at the church, while

Longman F4UP LED PAR cans provide an economical solution to wash the stage. The Le Maitre MVS Hazer is geared for small- to large-sized venues and has two variable speeds and high-power fans to control the force and direction of the haze stream. Onboard DMX enables the control of haze density.

The new lighting gear has made a difference, especially when looking back at the older video footage.

“The broadcast quality went up a thousandfold and there’s no comparison,” said Goldman. “Our

previous picture quality was average but, when it came to wanting a professional look, Rob suggested small things like the use of a hazer and the focusing of our existing lights, which has resulted in a massive difference to our online presence. We have taught and encouraged people to engage online, but we know that once everyone is back and attending services in a church building, it’s going to be wonderful, and the lighting rig will help enhance the experience.” www.dwrdistribution.co.za

Joodasan Church elevates worship experience with Harman

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KOREA TechDataPS Co Ltd and Yeong Sound have collaborated to equip Joodasan Church’s newest location with a high-quality, easy-to-operate live sound system featuring JBL Professional, Crown and Soundcraft audio solutions. Built in 2014, the chapel at Hwaseong-si in Gyeonggi-do province is the third facility constructed by Joodasan Church. With around 2,200 seats, including twostorey balcony sections, the 1,500m2 worship space regularly hosts a wide variety of spiritual events, in addition to musical performances and youth Sunday school.

TechDataPS partnered with Yeong Sound to install JBL VTX A8 loudspeakers in a way that complemented the church’s architecture. To complete the system, TechDataPS selected JBL VTX B18 series subwoofers for extra low-

frequency impact and lightweight VRX932LA-1 line array speakers for extra coverage. JBL VTX M20 and VRX 915M stage monitors reportedly

provide clear sound onstage for performers and speakers.

To power the system, TechDataPS provided Joodasan Church with

Crown I-Tech 4X3500HD and Crown CDi 2|1200 amplifiers. Finally, TechDataPS equipped the church with a Soundcraft Vi7000 digital mixing console. With 128 inputs, onboard DSP and a hands-on Vistonics touch interface with colour-coded FaderGlow technology, the Vi7000 fulfils all of Joodasan’s needs and is easy for staff to operate.

“The project at Joodasan Church required close collaboration in the fields of sound, construction and systems engineering,” said Amar Subash, VP & GM, Harman Professional Solutions, APAC. “We’d like to thank our partner TechDataPS for executing a solution with precision, and for setting up the first VTX A8 installation in a church in the Republic of Korea.” pro.harman.com

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NEWS

dLive and SQ perform in harmony at Guildford Baptist Church UK Guildford Baptist Church recently completed an extensive £7 million (US$9.6 million) refurbishment programme that included an overhaul of the audio system in the building’s 600seat auditorium. Supplied and installed by church sound and AV specialist DM Music, the new system includes an Allen & Heath dLive S7000 Surface and DM32 MixRack, complemented by a compact SQ-5 digital mixer and a pair of DT168 Dante-equipped audio expanders.

Serving multiple rooms and employed for its flexible deployment options, the dLive and SQ-5 combination is used for both the church’s own services and for community events and concerts. “When it came to providing a new system, we needed something that was rider-friendly for visiting engineers to use, so the dLive and SQ-5 were ideal,” explained

for simple operation to take care of a handful of radio mics with an automix if necessary.”

Based on the XCVI Core with a 96kHz FPGA engine and 0.7ms latency, both the SQ and dLive surface controls provide added benefits at the church. “The fact that the SQ-5 architecture makes it feel very similar to the dLive also makes it a great training platform for inexperienced users that eventually need to get handson with the bigger system,” concluded Bennewith. “It’s been a great solution for the church’s needs.” www.allen-heath.com www.dmmusic.com

The dLive S7000 control surface

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The DM32 in the rack DM Music’s Graham Bennewith. “When the church hosts large-scale concerts, the dLive is used at FOH with the SQ-5 for monitor duties and for various other uses. The ability to network everything via Dante adds very valuable flexibility, and the network capabilities allow for a very joined-up and versatile system which enables the dLive and SQ-5 to be used in multiple locations around the building very easily.”

All dLive and SQ mixers incorporate advanced AMM (Automatic Microphone Mixing) capabilities, allowing multiple zones to be mixed simultaneously. The DMM feature assists less experienced operators and as such was expanded upon by DM Music. “The church was in need of a versatile audio solution that could be used in a variety of situations and by people of very different levels of experience,” added Bennewith.

“Although the Allen & Heath systems are extremely powerful, we can set them up

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NEWS

Alcons supplies power and clarity to Hope Church USA Created in 2015 by the merger of two churches, worship at South Carolina’s Hope Church ranges from high-energy music to spoken word sermons. The expansion of the singlestorey Simpsonville building enlarged the room’s depth by around 21.5m and added gallery seating at the back, providing a total of 700 seats.

The existing audio system was not adequate to cover the newly enlarged space, so the church contacted AVL Solutions (AVLS) for help.

“A challenge for the sound design was the pitched roof, which ranges

from 4.5m at the sides to more than 5.5m in the centre,” said Chris Craine, AVLS designer/director of sales. “We discussed the benefits of Alcons’ proribbon audio technology with the client and, having worked with them before, they trusted our recommendation.”

AVLS has installed an Alcons pro-ribbon system comprising LCR arrays of two single 12-inch RR12 point source array modules at each side and four in the centre, to provide the congregation with a full stereo image. Three horizontally mounted VR12 mid-size 12-inch

versatile monitors have been suspended from the building’s main overhead beam to cover the new gallery seating, with three SR9 ultra-compact double 5-inch in-fill monitors for altar lip-fill.

The church’s existing subwoofers were tied into the Alcons system, with Sentinel10 and Sentinel3 amplified loudspeaker controllers

installed for power and system management.

“This was the first time we had installed RR12s and the deployment was extremely easy,” added Craine. “We simulated the system through EASE and it performed exactly as expected.” www.alconsaudio.com www.hopesc.org

Stage Audio Works helps HOFMI implement cross-continent communication SOUTH AFRICA Heritage of Faith Ministries International (HOFMI) has recently implemented a StreamWorks end-to-end streaming solution to allow for direct communication with its associate church in the USA. Additionally, it has also deployed a 5,760mm x 3,360mm Pixel Plus Xcell-i LED wall which forms the new backdrop to its stage. The systems were implemented by Stage Audio Works (SAW), which has served as a key partner in the technological development of HOFMI for the last several years.

“Our first engagement with Stage Audio Works was when we upgraded our consoles at our Johannesburg and Witbank locations to Yamaha CLs,” recalled HOFMI technical director, Matt Ratcliffe. “Over the years our relationship with SAW has developed beyond basic equipment supply to utilising their immense technical expertise to design and build custom solutions to help us achieve our goals.

Nathan and I have worked fairly closely over the last couple of years talking through our specific needs and how we could cater to them. One of our main goals is to use the Witbank building – principally the auditorium – as a broadcast campus facilitating the capture and broadcast to several

campuses simultaneously via web or TV broadcasts, with either live or post playout.”

A major part of this project was the setting up of a low-latency, bidirectional

the event of any hiccups,” explained Ratcliffe. “We then deployed a Kiloview E1 encoder that removed our reliance on Apple computing power behind OBS.”

stream with an associate church in Fort Worth, Texas. The first stage was to transition HOFMI’s broadcast setup from the OBS (Open Broadcast Software) platform – which is used to stream directly to YouTube – to the StreamWorks platform.

“This gave us the reliability of SRT and the benefit of StreamWorks support in

The E1 compact solution provides encoding from a single SRT stream and two channels of audio. “Once we’d stabilised the broadcast campus stream, we built a mobile ‘streaming box’ containing a Kiloview E1 encoder and a Kiloview DC220 decoder for sending and receiving video from a remote location, two Radial Stagebugs

for connecting external devices to the PA and a small router for remote access via VPN should it be required,” added the technical director. “All of this was packed into a Stage Plus 3U flight case – designed and built by SAW’s manufacturing division – with a custom-built drawer to allow for easy access from the back and a properly labelled patch panel at the front for easy I/O. We then shipped the streaming box off to Fort Worth where, with the help of StreamWorks, we were able to implement the bidirectional stream between Witbank and Fort Worth – or wherever the box happens to be. In essence, this system offers a plug-and-play solution for reliable, low-latency, bidirectional streaming to and from remote locations using HOFMI Witbank as the production centre. Furthermore, it is capable of being scaled to multiple campuses. It’s a fantastic solution and one that we couldn’t have implemented without Nathan and the Stage Audio Works team’s help.

The cherry on the cake is the greatlooking Pixel Plus LED wall at the back of the stage which brings the whole project to life in the Witbank auditorium.” www.stageaudioworks.com

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Evolution Wireless Digital

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Embrace the power of a digital UHF system, ready for any RF environment. Evolution Wireless Digital raises the bar by providing the highest dynamic range of any wireless system currently on the market, utilizing advanced features that simplify your setup and guarantee the most reliable connection. www.sennheiser.com/ew-d #EvolvingWithYou

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NEWS

N a

Global Kingdom Toronto upgrades with DiGiCo Quantum 338 and KLANG CANADA Working closely with Apex Sound & Light and GerrAudio Distribution, Global Kingdom Toronto has adopted a futureproofed solution with the addition of a DiGiCo Q338 mixing console and KLANG immersive mixing platform. The HOW has grown substantially and now operates out of a facility able to host an onsite congregation of nearly 2,000 on any given Sunday, and streams live services to 32 countries around the world.

providing different options for Josh and his team to try out,” added Tom Lodu, manager of operations and special events for Global Kingdom Ministries Inc. “Ultimately, we decided to go with the DiGiCo Q338 because, knowing where Josh and the production team want to go, we felt it would take us to the next level and feed that vision, not only for today but for the future. I love the workflow and flexibility and, of course, I love how it sounds.”

Image courtesy of Discovery Church

Leopard elevates experience at Discovery Church USA

Audio director, Joshua Rambajue, who started attending Global Kingdom in 2012, explained that the scope of the musical component to their services ranges from basic setups with just a singer and a guitar to a full praise band featuring anywhere between three and eight vocalists.

This latest upgrade, however, also supports a wide range of other musical activities. “What this allows us to do is to capture every Sunday meeting, not only for archival purposes but also for mix down and posting ‘worship moments’ online, featuring performances with or without our congregation present. And that wouldn’t have been possible if we weren’t able to multitrack using the new system.”

“After we began having issues over the last few years with our previous console, we decided to make a change and Apex was great about

DiGiCo’s Dante and DMI-KLANG cards were also motivators for the purchase.

“We wanted to make sure our new console would pair well with the Dante network we built earlier last year, and with the DiGiCo S21 we use to handle our broadcast mix,” added Rambajue.

“I was concerned that using KLANG would be too much of a leap from what I was used, but the experience immediately overrode any such concerns from the time parameters were set,” continued band director, Keegan Kalideen. “Just from my intuitive perception as a musician and composer, KLANG is in an entirely different category than ordinary IEMs; I can confidently say it felt like an in-ear experience. I’ve never been in a closed sonic environment and felt like I was ‘feeling’ actual floor monitors in the room, which completely transformed my musical engagement.”

When Discovery Church in Orlando, Florida, set out to build a new main broadcast campus, the overriding goal was to create a space that was comfortable and inspiring for in-person worship, but also optimised for streaming of Sunday services and other special events. Audio was a critical component in this, and has been tackled with new sound reinforcement from a Meyer Sound Leopard line array.

“We were looking for a major step up from the ageing point source system at our old broadcast campus,” recalled Zack Howes, technical director at the new Sand Lake campus.

“We wanted a system with higher output and greater intelligibility, but also rider-friendly. We wanted to up our own game at weekend services but also be ready for high-profile special events.”

Long before breaking ground on the new campus, the church tech team enlisted the services of local systems integrator Pro Sound to evaluate possible solutions. As part of the process, a temporary Leopard system was installed at the old campus for the church’s “A Night of Worship” event.

“This is an event we have twice a year where we really open it up and pull out the stops

beyond regular Sunday services,” explained Howes. “The result that night was awesome. Leopard blew away what we already had in that space.”

Designed by Pro Sound lead engineer Craig Compton, the new setup is anchored by main arrays of eight Leopard cabinets plus eight UPM-1XP loudspeakers as front fills and two ULTRA-X42 loudspeakers as fills to cover side seating. Low frequencies are bolstered by eight 900-LFC lowfrequency control elements – six flown as a cardioid centre array and two on the floor.

The clarity of the LEOPARD system has reportedly boosted intelligibility to the point where services can be run 5dB to 6dB quieter than with the old system.

But when it’s time for special youth events, the system has ample reserves.

“Our pastoral leadership is pleased that we can offer audio quality that is on par with the top entertainment attractions in Orlando,” Howes concluded.

“We feel we have an important message to communicate and want to make sure we deliver the message with the same, or better, clarity and impact.” www.meyersound.com

www.digico.biz

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NEWS

NEXO delivers a personal audio experience at Stockton Parish Church UK Audiologic has teamed up with Sound Source Audio to deliver a sound system upgrade at Stockton Parish Church that delivers a well-balanced and personal audio experience for all its attendees.

Built in 1712, the HOW prides itself on being a diverse, lively and charismatic church with its attendees and community set at the heart of everything it strives to deliver, led by Minister Mark Miller.

As with all historic and complex buildings, delivering an exceptional audio experience was a challenge.

With its previous setup, the church suffered audio which was non-uniform throughout the listening area and speech intelligibility was poor due to the acoustics of the space. A level of uniformity was required to ensure all attendees received the same listening experience, no matter where they were in the building.

The project was a long time in the preparations and the acoustics in the

An array of six Geo M620 cabinets

environment meant the design process was critical. Audiologic worked with Sound Source Audio to help arrange a series of trials which showed the NEXO array system (two hangs of six Geo M620 cabinet arrays per side, with two ID24 fills and LS600 subs, all powered through two NXAMP4X1 amplifiers) to be the best choice for the space.

Minister Miller commented: “We wanted to upgrade the sound system in the church that would deliver the audio experience for all our attendees that we were looking for. It’s important to

me that the delivery of our services is inclusive. Everyone should feel like they are being personally spoken to and the NEXO solution did just that.”

Jamie Harvie, owner of Sound Source Audio, added: “As a business, our model is to form long-term personal relationships with our customers and a few suppliers. Audiologic is one of those key suppliers and are a large part of what makes Sound Source successful. The ability to contact Audiologic for advice and support before placing an order is invaluable.

They always provide a great service through the order process, and I can depend on them for help if something were to go wrong. Audiologic’s overall support and attention to detail made this project run smoother than we could have imagined. The result was a great sound system and a delighted customer.” www.audiologic.co.uk www.nexo.fr

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NEWS

W s

All Nations Church replaces lighting system with ADJ LED-powered rig USA Specialist house of worship supplier Firelight Media and Integration has completed a full refit of the lighting system at All Nations Church in Tallahassee, Florida. The decision to invest in a new and energy-efficient, LED-based rig was driven by the church’s desire to reduce running costs, improve the visual quality of livestreamed services and increase the versatility of what can be achieved onstage.

Fireflight Media owner and manager Joshua Branch’s relationship with All Nations started before he was even born, as his father was a minister at the church way back in the 1970s.

“I was initially approached about this project around a year-and-ahalf ago – a little before Covid,” stated Branch. “They hadn’t upgraded their lighting for around 20 years, which meant their current system was starting to fail, causing increasingly noticeable inconsistencies in the wash pattern on the stage. Because the rig was purely incandescent fixtures,

their power bill had also become astronomical.”

With seating for over 2,000 people and a large stage measuring approximately 17m wide, the first challenge was to wash the large area across the front of the sanctuary used by the pastor when he is preaching with an even coverage of front wash. To achieve this, ADJ’s Encore FR150Z LED-powered wash fixture was selected. “We were able to deliver

exactly what they were looking for using just 14 FR150Z fixtures,” added Branch. “Online streaming is a big priority for this church, as it is for most churches at the moment, so getting the lighting to look perfect on video was very important.”

Towards the rear of the stage, in the area occupied by the band, Branch wanted to give the church the flexibility to either continue the warm white wash across the whole stage or introduce colour during times of worship. To achieve this, he chose 28 of ADJ’s 18P HEX high-power LED PARs, with 18 illuminating the rear section of the stage, eight providing a back wash for the musicians and two dedicated to illuminating the stage’s distinctive wooden backdrop. To complete the lighting system, Firelight Media installed three of ADJ’s Vizi Wash Z19 moving head fixtures across the rear of the stage.

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www.adj.com www.allnationstallahassee.com

tvONE’s CORIOmaster mini drives new Church of God TV Studio USA A CORIOmaster mini videowall processor from tvONE is driving the new Church of God – a Worldwide Association (COGWA) – TV Studio at its Texas headquarters. The hightech HQ is a vital communication centre for the church’s members and includes the delivery of its weekly broadcast news magazine, In Accord, among other outreach programmes and publications. The In Accord TV set was designed by Kelly Cunningham, assistant manager AV/ data/web at COGWA, and uses a 1x3 monitor wall of NEC 46-inch tiles.

Created with viewer engagement in mind, the new videowall displays vibrant colours, multiple shooting angles and ample space for guest interaction.

“The church approached [tvONE dealer] AV Dallas with the desire to install a high-functioning 1x3 videowall to act as a ticker/multimedia backdrop for

their broadcast series,” explained Dave Pollock from AV Dallas. “The church asked for the ability to display any combination of scrolling news ticker feeds, multiple overlaid images and/ or video clips, as well as custom-made static and animated graphics.”

“We wanted the monitor wall to be a focal point, yet required it to look architecturally integrated,” added Cunningham. “CORIOmaster gives us

the most flexibility for the price point on how we integrate and use our setup. Its ability to easily adapt to a 1x3 monitor matrix – or any format we wanted to come up with – made it an instant hit for us.”

The CORIOmaster mini is connected via 15m SDI cables from the set’s control room.

“We are using the CORIOmaster mini’s internal and USB storage for

some video and graphics as well as a dual HDMI 4K input card and dual DVI input card,” continued Cunningham.

“We use a couple of computers hooked in as sources to switch between videos, motion logos and backgrounds as well as PowerPointhosted presentations.”

Pollock has collaborated on projects with tvONE for more than a decade. “The client loved the way it is customisable, with certain cards to target specific needs and has the ability to set and save scenes to recall.

This was a huge selling point.”

Cunningham concluded: “For the size and price, it’s impressive. The unit really stood head and shoulders above anything else. It has helped to realise our vision for our set and the dynamics of the content we hope to deliver.” www.tvone.com

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World Outreach Church scales peaks with K3i USA Since its origins in 1980, World Outreach Church (WOC) in Murfreesboro, Tennessee, has grown to welcome nearly 7,000 worshippers for three services each week with an additional 5,000 attendees joining from around the globe via livestreaming. To ensure that both the message and music delivered in the church’s 2,800-seat Three Crosses Sanctuary are heard with maximum clarity, WOC turned to Clair Global Integration to install the world’s first L-Acoustics K3i loudspeaker system in a house of worship.

line array but gives us the punch and performance of a double 12-inch, which is really what their worship space required. K3i is also super versatile; it had the tonality needed to reproduce classical and orchestral music, but also enough impact to make the audience feel those high-energy contemporary worship moments.”

The new system now features three arrays, each comprising eight K3i modules, powered by six LA12X amplified controllers. Two stacks of four KS21i subs in a cardioid configuration reside onstage, with two more centred under the stage. Six compact X41

Although the church’s current worship space is only 10 years old, the sanctuary’s original sound system was never quite ideal. “The room had some troublesome reflections and their point source boxes just couldn’t provide the coverage they needed while avoiding putting energy where they didn’t want it,” said Clair Global systems designer, Joe Anderson. “There wasn’t a cohesive experience across the listening field, which is why we wanted to suggest a line array solution with adjustable horizontal coverage, as it would give us better control and eliminate the need for delay speakers for the upper seating areas.”

Anderson initially considered A15i and Kara IIi-based loudspeaker designs but ultimately specified L-Acoustics’ newest enclosure for the project. “K3i was truly the perfect enclosure for World Outreach. It has the physical footprint of a typical double 10-inch

coaxials are discreetly mounted into the stage steps and serve as front-fills.

The subs and X4i are all powered by three LA4X. According to WOC production manager Nic Smith, the triple array arrangement is intentionally not set up as a traditional LCR design. “Based on a recommendation from L-Acoustics house of worship application manager Josh Maichele, we’re running the threehang K3i system in a Left-Right-Left configuration rather than a Left-CentreRight,” he described. “Because our room is so wide, this actually helps us give a stereo image to the entire room and allows us to utilise panning without losing a vocal or instrument to one side or the other. It is a simple thing but makes a big difference.”

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www.clairglobal.com www.l-acoustics.com www.wochurch.org

• 15,400 lumens • Compact and affordable • Packed with features

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23/09/2021 16:23

PROJECTS

Lighting the way ahead

Lighthouse Church opens a new sanctuary with state-of-the-art systems following Hurricane Michael devastation WHEN HURRICANE MICHAEL ripped through Florida in October 2018, Lighthouse Church’s main building was one of many structures that was laid to waste. Up until June 2021, parishioners were forced to meet in the church’s children’s building until a more suitable space was found. Ultimately, a former theatre in Panama City Beach was extensively renovated as the new campus and Worship Center.

Tennessee-based production and systems contractor AVLX was called upon to design and install the audio, video and lighting systems for the new church campus. The refit included an all-Elation lighting rig featuring Fuze Series luminaires.

AVLX systems designer and previous Lighthouse staff member Joey Riggins completed the full system designs with AVLX’s Erik Parker handling lighting design for the Worship Center stage.

Riggins noted that the ministry had set goals of being a technology pillar church in the local area with modern streaming and broadcast systems, including the lighting needed to support them. “We designed a package that gave them a variety of washes, beams and battens, plus house pendant lights,” he states.

“Because of their price point, we went heavy on the Fuze series.”

In addition to quality lighting for broadcast, the church also specified a dynamic house lighting system like the one that had existed in their previous building. “It worked well for their style of worship in the old space, so it made sense to carry it into the new

space,” furthers Riggins. “They wanted to maintain the look but with a more modern design that worked well any time they needed it. We were able to achieve that with the Fuze Pendant.”

In a church setting, where the goal is to move the audience to participation in worship or message, the need to feel connected and engaged is important. “The creative use of dynamic house lights can reinforce the service and engage the audience to participate in the experience,” comments Riggins. “They also raise the aesthetic of a space.”

In total, 52 Fuze Pendant downlighting fixtures were installed over the seating at Lighthouse Church. Housing a full spectrum 230W RGBWL array and capable of colour temperature adjustments from 2,000–10,000K, they can wash the entire room in high CRI white light, pastels or saturates. Silent with no fans, output is up to 11,000 lumens.

“I think the Fuze Pendants are the

hero of the entire lighting rig,” Riggins remarks. “The whites are really nice, there are no harsh spots and the colour saturation is really deep and warm. There is even coverage across the entire space.”

Having previously specified Fuze series luminaires for churches in Nashville, AVLX had no hesitation in specifying their use for the focal point of the 850-seat space. Mounted above the stage on a pipe grid are six Fuze SFX Spot FX moving heads, six Fuze Wash Z350 PAR moving heads and 11 Fuze PAR Z175. Ten SixBar 1000 colour-changing battens add wash looks from a floor position, while 12 WW Profile HP ellipsoidals work from positions at FOH. “From a volunteer perspective, we wanted to provide an ample variety of lights where they could use them successfully but also offer the flexibility to change the stage around if they wished,” states Parker. “It’s a very active church and, because they

engage a lot with the community, the space will be used for a lot of different activities. Giving them a flexible system that is easy to use will be a great benefit to them as they expand use of the stage to different activities.”

Both the Fuze PAR Z175 and Fuze Wash Z350 use single-source RGBW COB colour mixing that gives a homogenised field of light without the multiple shadows created from traditional LED wash fixtures. The lens face appears as one colour instead of individual LED diodes for more classic wash looks. Both luminaires also house zoom systems.

Manufacturers’ rep firm and Elation dealer Freed Sales played an important role in working with AVLX on the project. “We almost work exclusively with Elation today because, if something goes wrong, our representative will handle it and we’ll get a quick response,” adds Parker.

Lighthouse Church’s Worship Center now operates as a fully functioning venue, including live broadcast, special events, conferences, plays or concerts in addition to the ministry’s weekly services. “We were happy to help bring the room back to life and launch them into a space that I think already feels like a home to them,” Riggins concluded. “When we were about to open the doors for the first service in the new sanctuary, the pastor said it felt like he was at a much larger church.” www.avlx.com www.elationlighting.com

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The XSL System.

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The newest addition to the SL family. All the unparalleled features only SL-Series provides: Full broadband directivity control, extended low frequency response, innovative rigging. More SL. Nothing less.

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PROJECTS

Full range discovered in Middle Earth L-R d&b audiotechnik V10P speakers provide a point source solution

Matamata Baptist Church finds even audio coverage with d&b audiotechnik’s V10P cabinets and choice of a subwoofer, the stage has access doors to the left and right with limited room for floor speaker placement.

With the existing stagebox, racking and mixing console retrained, the remaining budget was dedicated to new loudspeakers and amplification. Having modelled the room using ArrayCalc simulation software, Tucker opted to employ single d&b audiotechnik V10P

A point source solution was deemed ideal for the tapered, glazed room LOCATED AT THE BASE OF THE Kaimai Ranges in New Zealand’s Waikato region, the town of Matamata is famed for the nearby Hobbiton film set. Predating The Lord of the Rings film trilogy, the Baptist Church that has served the community since the 1960s was recently earmarked for building renovations. An integral part of the refurbishment included a new loudspeaker system that assistant pastor Declan Smith was tasked with overseeing.

Specialists in the application of audio systems in houses of worship, Auckland-based DM Acoustic received the enquiry from Smith to propose an audio design with various challenges. As an acquaintance of Smith, DM Acoustic’s director Matt Tucker found himself in

the fortunate position of being trusted.

A limited budget was deemed to be the biggest constraint, ensuring that any functional equipment would need to be incorporated in the final design.

Other key goals included even audio coverage across the whole venue with a particular emphasis on clear articulation.

In addition to speech intelligibility, music during the services would also need to be heard from anywhere in the venue.

Tucker was tasked with proposing a new stage and tapered room design, including speaker choice and placement.

Open at the front but broadening appreciably towards the rear balcony, the room’s unique dimensions, together with floor-to-ceiling glazed windows on each side, posed a significant acoustic imbalance. Impacting the placement

d&b VP adaptors are used to fly the V10P enclosures dual 10-inch cabinets. Operating within a frequency range of 59Hz – 18kHz, each V10P provides 110° x 40° (HxV) dispersion characteristics to cover the whole room in an L-R configuration.

“These are really great boxes,” explains Tucker. “Even before tuning, they just sound fantastic, covering the whole room with ease and with plenty of headroom.”

The three-way passive point source boxes are complemented by a d&b 21S subwoofer per side. Selected for

their omnidirectional sonic qualities and deep bass down to 35Hz, the 21-inch bass-reflex subwoofers crucially fit under each stage wing without impeding access. Offering up to 800W (AES rated) per channel at 4Ω, a single d&b 30D amplifier was added to the rack to power the V10 and 21S combination. Tucker was further impressed with the d&b VP adaptors used to fly the 33kg V10P enclosures. “These can be adopted for single or redundant hang points on a single point source or further array configurations,” furthers Tucker. “DM Acoustic prides itself on quality work and these brackets allowed a simple and unobtrusive speaker hang. To this end, great effort was spent on discreet ceiling penetrations and the installation appears rather clean and elegant.”

Tucker enjoyed working with a friendly client and was supported by a friendly supplier in NAS. “We’ve been working with NAS since our first-ever job and they’ve always been great at supporting us,” adds Tucker. “We received reports from the congregation that, on the first Sunday, it was great for music, although the key thing was that everyone could hear the spoken word clearly for the first time.” www.dbaudio.com www.dmacoustic.com www.matamatabaptist.org www.nas.solutions

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ACT-5800 Series Digital Wireless Systems

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

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

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

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ACT-580T

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24/09/2021 10:12

PROJECTS

An unwavering belief demands faithful audio

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Built to commemorate Indonesian independence, Masjid Istiqlal can accommodate over 120,000 worshippers

The impressive Masjid Istiqlal is the sixth largest mosque in the world –­ and boasts a standardised TOA sound system across the entire facility BUILT TO COMMEMORATE Indonesian independence and with a capacity of over 120,000 worshipping pilgrims, Masjid Istiqlal remains the largest mosque in Southeast Asia. Located in central Jakarta, construction of the national treasure was initially proposed in 1953 by Indonesia’s first minister for religious affairs, Wahid Hasyim.

It would take another quarter-century before the sixth-largest mosque in the world would open to the public.

Another four decades would pass before the technological management committee, Badan Pengelola Masjid Istiqlal (BPMI), would request tender bid proposals to fully replace the original Siemens audio system.

The North Sumatra architect, Friedrich Silaban, sufficiently understood the Quran to accurately integrate Islamic symbolism into his blueprints. Representing the seven heavens in Islamic cosmology, the mosque has seven entrances and gates called after the names of God. With a nod to the 1945 Proclamation of Indonesian Independence, the rectangular main prayer hall building

The PT Galva Technologies team is covered by a 45m-diameter central spherical dome. To enter the main hall, worshippers pass through an entrance covered by an 8m-diameter dome, whose number represents the eight month of August and the month of Indonesian Independence.

Consisting of a main floor and four

balcony levels, the number “5” translates to the Five Pillars of Islam.

Located in a rear second-floor room, the original Siemens centrally controlled audio system was designed to enhance speech intelligibility during prayers and provide public address information

throughout the expansive facilities.

Serving a distributed network of over 200 loudspeakers in the main prayer room and across the first floor, extensive cabling runs were routed to 26 amplifiers and five mixers located in a glazed rear second-floor control room. From dawn to dusk and beyond,

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PROJECTS

Worshippers focus on the main wall or qibla six BPMI technicians have supervised the audio requirements in shifts since 1978.

Appointed as the main fire alarm and electrical contractor, PT Pratama Solusi Armindo sub-contracted PT Galva Technologies to design and supply the main loudspeaker system for the project. As TOA’s authorised dealer, the call to site in January 2020 was warranted following consistent maintenance upgrades, troubleshooting and demonstrations conducted by the Jakarta-based contractor over the years. This included the replacement of defective amplifiers with TOA highimpedance models. With the goal of achieving optimum audio quality, reliability and ease of servicing, BPMI requested that PT Galva Technologies standardise the audio components throughout, and a TOA solution was approved.

Ensuring that praying Muslims focus on the main wall or qibla, the interior design of the main prayer hall is both simple and clean-cut.

Indicating the direction of Mecca in the centre of the qibla is the mihrab and the Imam’s minbar. Adorned by ornamental stainless-steel covers, 12 round vertical columns representing the birthday of the Islamic prophet Muhammad on 12th Rabi’ al-awwal support the enormous dome above the main prayer hall. In addition to imposing an impressive background, the East Java white marble walls

TOA SR-S4S columns are discreetly fixed to the vertical metallic framework pillars

TOA ZS-F2000 and ZS-760B-AS enclosures in the outdoor under-balcony areas

add a further acoustic reverberation challenge of attaining a Speech Transmission Index (STI) of 0.6s.

While enhancing intelligibility, the proposed loudspeaker system would also need to pass the “heard, but not seen” test of unobtrusive aesthetics.

Assisted by TOA Electronics in Singapore, EASE 4.4 modelling performed by the PT Galva Technologies engineers detected optimum coverage by adopting TOA SR-series line array speakers for the main prayer hall. A total of six SR-D8 active line array speakers ensure even coverage across a 130Hz–20kHz spectrum over the first 20m of the main prayer hall. Flushmounted on SR-TB4 wall brackets on the mihrab, each MDF enclosure incorporates a digital audio input, an eight-channel Class-D amplifier, DSP and eight 4-inch LF woofers together with 24 one-inch HF tweeters that are closely aligned as a continuous linear sound source. Finished in white and operating within a 70Hz–20kHz frequency range, the line arrays provide even coverage across the listening plain with 90° x 10° (HxV) dispersion. Towards the outer left and right flanks of the mihrab wall, a pair of SR-S4S two-way line array speakers ensure even coverage, while a pair of unobtrusively installed SR-H2S cabinets in the minbar wall serve as monitors for the Imam.

Finished in white, SR-S4S columns are individually and discreetly fixed

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PROJECTS onto the 12 vertical metallic framework columns in the centre of the main prayer hall. During the design phase, the PT Galva engineers configured the acoustic outputs beyond the floor area covered by the six SR-D8 models towards the mihrab. This has been achieved by radiating their energies towards the sides, rear and centre of the hall. Tilted 10° downwards on their SR-TB4 brackets, their collective energies are concentrated on the worshippers rather than the marble walls. Housed within the same 160mm x 892mm x 303mm (WxHxD) enclosure and combining the same electroacoustic components as the SR-D8 model, the SR-S4S is a lighter, passive version.

Microphone inputs – including TOA Series 5000 wireless receivers, transmitters, 5325 headsets and 5225 heldhelds together with an EM-800 gooseneck fixed to the minbar – are received by a Yamaha MGP32X 32-channel analogue console.

The resultant mix is then routed to two dedicated DP-SP3 processors serving the mihrab and column speaker presets, where individual DSP parameters are applied for the two SR-series speaker models. Individual EQ, crossover, matrix, compressor and delay configurations have been digitally applied within the version 2.0.0 software for comprehensive network control. Additionally, precise vertical directivity and acoustic beamwidth parameters are controlled over the Cat5 infrastructure from a remote Notebook PC using the supplied setting software.

The output signals are transmitted within the digital domain from the two-in/six-out racked processors to the combined SR-D8 and SR-S4S network. The 12 passive models are powered by three DA-550F Class-D amplifiers located in the same second-level control room rack. Cabling sub-contractor PT Pratama Solusi Armindo ensured that the Canare 2S11F loudspeaker cable and Cat5 runs routed to the multiple loudspeaker arrays were limited to no more than 100m distance.

The balcony levels of the main prayer hall receive speech reinforcement through a network of smaller quadruple 5-inch speakers. Designed to provide wide horizontal directivity, a total of 14 ZS-202C 20W and ZS-402C 40W models have been wall- and ceilingmounted on each level. Powered by a combination of DA-550F and DA-250F four-channel amplifiers via three audio distributors, the digital signals are received from a third dedicated DP-SP3 processor that is remotely configured on the same Notebook PC. The main structure is directly connected to arcades that are spread around the large courtyard by an extensive 70V line public address and voice alarm system. The control room is equipped with an M-9000 digital mixer and CD2011R player allowing different audio signals to be streamed to the various zones. Should an emergency arise, however, the RM-200M microphone takes priority.

From the M-9000, the audio signals are routed to six VX-3004F frames via three 10-channel zone selectors. Depending

The extensive grounds comprise a large number of TOA weatherised outputs

A 45m-diameter central spherical dome covers the main prayer hall

The rear second-level room hosts multichannel amplifiers, audio distributors and a DP-SP3 processor on the size of the zones and the number of loudspeaker outputs, five of the panel frames host between one and four DA-250F amplifiers, while a spare 150W amplifier has been added to the main control panel frame for network redundancy.

Each amplifier channel has been configured with unique DSP settings to reflect the acoustic environment, while a smart ANC function adjusts the output according to the ambient noise.

In addition to the weatherproof ZH-615 SM horns that are fixed to metal poles throughout the car parks, a number of ZS-F2000 8-inch and ZS-760B-AS cabinets have been fixed to the underbalcony areas of the main building exterior. Within the mosque, a network of ZS-648R ceiling and ZS-062 box speakers were preferred for the back of house corridors, stairs and offices.

A meeting room and two VIP areas have been equipped with bespoke audio solutions. Equipped with eight internal microphones, AM-1B slim array units were selected for

presentations, while additional Series 5000 wireless systems add room flexibility. Equipped with Yamaha MGP16X mixers and DP-SP3 processors, audio is transmitted to the Z-122C ceiling speaker networks via ZA-3212, ZA-3224 and ZP-3248 digital booster amplifiers.

Symbolising the divine oneness of God, a single minaret in the southern corner of the grounds beckons worshippers to prayer. Translating to the 6,666 verses in the Quran, the 66.66m-high minaret was an intention of architect Silaban. Requiring a high SPL solution to extend the message beyond the immediate grounds required the inclusion of weatherproof Z-HA1010-AS long-range slim array speakers. Comprising eight horn speakers positioned in a vertical 1.233m-high array, 350Hz–7kHz coverage extends beyond conventional horns speakers owing to the narrowly focused directivity. Complemented by conventional ZS-760B-AS two-way speaker systems, the minaret outputs are powered by ZP-3248 amplifiers.

Following commissioning and tuning in late 2020, PT Galva Technologies arguably added its most prestigious Indonesian landmark to an already notable reference list. Its meticulous and time-consuming works may be devoid of symbolic meaning, but having achieved the SPLs, coverage and STI stipulated for this highly reverberant house of worship warranted the client’s praise. The intelligible audio experienced by the congregation journeying from their homes to the main prayer hall within the Masjid Istiqlal has undoubtedly created a more intimate worship experience. www.gtc.co.id www.toa.com.sg www.toa.co.id

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PROJECTS

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Setting up shop 3Ci is heralding its move into a permanent sanctuary after a quarter-century under canvas HAVING HELD ITS WEEKLY SERVICES in a tent for the last 25 years, Capital City Church (3Ci) has finally made the move to a permanent worship venue in the countryside of Zwavelport in Pretoria East.

Symbolically, the new venue is positioned directly over the old tent’s footprint, and has been constructed with materials like concrete for an industrial look, wood to soften the ambience and large windows that overlook pathed gardens where children play.

When it started off life more than two decades ago, 3Ci initially hosted its church services in a garden, school premises and then, when land was purchased in 2006, finally upgraded to its own tent. “We actually wanted to replace our tent with a new one in 2017 but, through a series of events, we felt that God had pressed the ‘pause’ button on our agenda, and we put the project on hold until we felt we had peace in our hearts,” recalls church elder, Eugene Smith. “Our team started brain storming and, as we looked at the demographics of Pretoria and how it was growing, we realised that if we replaced the tent with another, we would be burdening the next generation because a tent does not last.

It was a huge decision going forward, as a permanent structure was the last option on the table.”

The 3Ci building was the very first design project for young architect and church member, Ferdi le Grange, who

L–R: 3Ci’s Ferdi le Grange, Eugene Smith, Ricky Le Roux and Damian Philips worked under the guidance of architect Lynn Forsyth, all the while heavily incorporating ideas and input from the leadership team. While the church was an important part of le Grange’s life and where he met his wife, he initially hesitated to be part of the new development.

The tent was pulled down at the end of 2019 and church members worked according to the engineering specifications to prepare the groundwork.

The building contractors, JC van der Linde & Venter Projects, started construction at the end of January 2020 and, by March the same year, the country went into lockdown due to the pandemic.

Despite facing difficulties including a shortage in steel, the building process went very smoothly, with the congregation meeting online in the interim. “Many times, churches are known to ask for discounts but, during the process, we won credibility with people,” shares worship director, Damian Philips. He recalls that the building contractor had several projects taking place around the country and, when the lockdown was implemented and building projects came to a halt, many clients stopped payment.

“I think at one stage, we were the only ones paying the contractor but, in turn, they honoured that, even paying into the building project which is unheard of.”

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PROJECTS It was also moving for the team to find out that many of the casual workers onsite had been previously retrenched and were grateful that the new building meant that they were able to work and feed their families.

“We stuck to the old tent layout, in which we were able to fit 1,900 people on a packed Sunday,” shares le Grange. “We now have 2,500 seats, 2,000 of which are raised and the other 500 at floor level. The decision to use the footprint kept the project economical and I think it was God’s kindness to limit us and to show us a better way of using the space without biting off another 100m2. We learnt some lessons from other churches, like the raked seating, which enabled us to fit in another 600 seats.”

Stage construction was influenced by the height of the subs positioned beneath it. The position of the lower stage and auditorium orientation resulted in the furthest seat now being 30m from the stage instead of the previous 60m. The auditorium is designed around intimate worship and the lower stage provides a great viewing angle, irrespective of where worshippers are seated.

Wanting to maintain a good relationship with its neighbours, it was important for 3Ci to keep the inside sound in and the outside sound out. The first person appointed for the building was the Always Listening_horz_live.pdf architect and the second, the acoustics

The stair nodes comprise 32 lights per run engineers. The church was built around their expertise and includes soundabsorbing elements. “Once the building was up, because of the consideration given to acoustics, we recalculated and were actually able to drop the spec of our sound system,” explains Ricky Le Roux, head of technical for 3Ci. The church commissioned DWR Distribution to reinstall the existing lighting system and to illuminate the stairways. DWR appointed The Install Crew team to assist with the project. The stair nodes comprise 32 lights per run, designed to be individually controlled – by the church’s control system – in banks of two. Where the church would traditionally use a8/31/2021 curtain or divider to make a venue 1 12:25:47 PM smaller for events such as conferences

or funerals, the stair lights can be programmed to point out designated seating areas for delegates. The lighting and stair lights can be programmed to highlight seating blocks in different colours should the venue be hired out for an event.

“The church now has the ability to individually run effects throughout the entire auditorium, up and down or side to side,” notes DWR’s Johnny Scholtz.

“The stairs are individually patched and we have installed 230m of LED strip and 2,500m of cabling along with controllers and power supplies. We programmed a few scenes and it looks really great. The installation was definitely a challenge as it’s intricate work, but it will enable the 3Ci technical team to be creative.”

The second part of the lighting project was suppling a brand-new cabling infrastructure, power and DMX for the existing lighting rig. “The lighting system formerly used in the tent was reinstalled into the new building,” explains DWR’s Schalk Botha. “We ran new lines from FOH to the control room, put in new distros and rewired everything. We hung their trussing, rigged their lighting fixtures and provided the necessary cabling.”

While technology will complement Sunday services, the new venue forms a beautiful backdrop from which to broadcast hybrid or online events. Over the years, Le Roux and Philips have enjoyed an influx of students, eager to help and gain new skills while making friendships along the way. “For us, it’s important to have a technical system in place that is volunteer friendly, and this means that everything we install and configure we do with our team in mind,” says Le Roux. “We always have many students who get involved.”

The emphasis at 3Ci is to be relevant to young and old, rich and poor, educated and uneducated and to be inclusive of all nationalities.

“Our goal is not to build a preaching centre,” elaborates Smith. “This is a house where people get trained.” www.3ci.co.za www.dwrdistribution.co.za

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USA 1-800-821-1121 In Canada, call 877-753-2876 In Europe, call +33 (0) 78558 3735 In South America, call +57 310799 4564

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Reflection resolution A single L-Acoustics A10i array keeps sound on the seats and off the reflective walls and floor at Christ King Parish IT’S FAIR TO SAY THAT MANY OLDER houses of worship were built without the practicalities of modern audio systems in mind. While aesthetically pleasing, materials such as marble, glass and hardwood create a highly reflective environment. The church building of Christ King Parish in the western Milwaukee suburb of Wauwatosa was opened in January 1957 and designed to seat 1,200 parishioners. Over the last halfcentury, the building has been through periods of reconstruction and renovation, but finally the HOW has managed to overcome the challenges it was facing with music and speech intelligibility.

As is often the case in these types of spaces, speech is sourced at the altar in the front while music emanates from the rear choir and organ loft, so addressing Christ King Parish’s needs would have to come from both directions. The local office of Clearwing Systems Integration has replaced the church’s old sound system with a new L-Acoustics A10i array and Syva loudspeaker enclosures.

Using L-Acoustics Soundvision design software, Clearwing Systems Integration created a solution that featured a single central array comprising five A10i – four Focus enclosures over one Wide – flown at the front of the room, and a pair of Syva and Syva Low speakers mounted on either side of the doors to the building’s narthex underneath the loft at the room’s rear. Four compact 5XT coaxial speakers are

see the systems,” Jonas explains, referring to how L-Acoustics was able to closely match the exterior colour of the A10i enclosures and grilles, as well as the Syva, Syva Low and 5XT, to the very specific beige colouring of the church itself, using the RAL colourstandards chart. “It is important that the sound reinforcement system does not distract from the architecture of the church. The form factor of the various speaker options, along with the custom colour, allowed us to meet that objective.”

Bill Lieven, director of liturgical music at Christ King Parish, believes the difference between the new sound system and what was there mounted two per side under the acoustically shadowed left and right transept areas, while four portable X12 monitor wedges enable the musicians upstairs to clearly hear themselves and the altar audio. Four LA2Xi amplified controllers power the entire system, which now brings clarity to both the message and music alike.

Clearwing Systems Integration’s operations manager Mike Jonas says the difference in sound quality since the installation is dramatic. “The previous system consisted of a custom horn array, which can be typical of older churches, producing inconsistent coverage and a poor aesthetic,” he says. “The trick to making sound work in an environment like this with a lot of hard, reflective surfaces is good pattern control and that’s what the A10i and its Panflex technology offers.”

The central A Series array features four A10i Focus enclosures over one A10i Wide

A closer view of one of the Syva and Syva Low pairings In this case, Panflex let Jonas choose the symmetric 70° setting for the top four speakers, which kept the sonic energy squarely on the seating areas and away from reflective surfaces. “The A10i gave us plenty of output but not a lot of extra low end which, in a space like this, could build up quickly,” he adds.

On the opposite end of the church, the Syva loudspeakers provide the full range for music to accompany the new 41-stop organ the church has installed in the loft. “The Syva are amazing for piano and voice,” Jonas continues. “And thanks to the 5XT fill speakers, other areas like the baptismal font, which never had any direct coverage before, now have good, direct sound.”

“What’s also great is that you can hear the difference but cannot easily

previously is literally night and day.

“There were places in the church that the old system didn’t reach clearly or at all,” he says. “But now the coverage is very consistent everywhere. It sounds great – very clear and even.”

Many parishioners never realised that there was a piano in the choir loft – a beautiful 2.3m Steinway grand. “Before, some people thought we had an electronic keyboard up there. Now, we can hear the piano from the front of the room to the back, and the Syva Low sub really brings out its rich bass tones,” adds Lieven. “Our parishioners can really hear the difference.” www.christkingparish.org www.clearwing.com www.l-acoustics.com

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11 Ubi Road 1, #06-01 Meiban Industrial Building, Singapore 408723 marketing@audio-technica.com.sg

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PROJECTS

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Journey of faith Karen Wallace reports from the Peterborough centre of KingsGate Community Church which has taken delivery of its latest piece of equipment – a new DiGiCo Quantum 338 console AS THE ENGLISH PROVERB SAYS, “mighty oaks from little acorns grow,” and it’s a common theme for many houses of worship today – like-minded people come together in a living room to worship, read the Bible and pray together but soon they outgrow a living room and move to a small hall, then maybe a theatre or a school and eventually into a purpose-built church. And, inevitably, with each space upgrade comes new technology.

This is the story of KingsGate Community Church, a multi-campus HOW with centres in Peterborough, Cambridge and Leicester. When Dave and Karen Smith left Oxford and moved to Peterborough in 1988, they looked to build a local church and held their first meeting with nine people in their living room. Over the next 18 years, as the church grew, they rented various venues across the city. Then, in 2006, the decision was made to buy land on the outskirts of Peterborough and build a £7.2 million purpose-built facility.

Pete Charlton moved to Peterborough in late 1990 while working for B&H

L–R: Pete Charlton, Matt Mills and Simon Benn Sound Services and became part of KingsGate when the services were being held in a small community centre. With a keen interest in all things AV, he was recruited by KingsGate as technical manager in 1995 but remained on the board at B&H for many years to come, maintaining a relationship with his former employer that would significantly help the technical development of the church in the years ahead. In 2008, Charlton was joined

by another former B&H employee, Matt Mills, as KingsGate’s production manager. Simon Benn completes the team as the church’s head of worship.

“Having bought 12 acres of land, we spent ages trying to work out how big to make the auditorium,” explains Charlton. “If we’d built an auditorium for 5,000 worshippers, then we wouldn’t have had any space for our youth ministry.” After travelling to various countries and houses of worship, including Hillsong in Sydney,

to see how different worship spaces worked, project architect Tony Byrne, Brian Hillson from B&H Sound Services and Mark Murphy from acoustics specialist Vanguardia helped KingsGate design and build its new Peterborough base. Seating initially totalled around 700 but, within the first few years, climbed to 900 after the addition of tiered seating. Currently, there are 1,500 seats but there is the capacity to hold 1,800 people in the future.

“Barco was a big part of our first equipment,” adds Charlton. “We went with an MA Lighting desk, ETC dimmers and Meyer equipment – B&H has been a long-time user of Meyer speakers, so it was a logical step.

We’ve had some great kit that has lasted us really well. The first thing we changed a couple of years ago was the screen and speakers because a good deal came up. The projectors also pushed us on the upgrade journey because we couldn’t get the lamps made for them anymore.”

DiGiCo has featured significantly in the church’s technical infrastructure from the beginning and an investment in D5 and D1 consoles back in 1996 has served the church well. “New equipment costs a lot of money but, if

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you make the right investment and you start to use the building more and more, you realise how important the quality of your equipment is,” says Charlton. “When the D1 and D5 hit the 10-year mark, we knew that we had to start thinking about an upgrade. It was a big project to undertake and for the senior leadership and the directors to take on board that again this was a serious investment. We wanted to increase the amount of channels we had – we sensed that this would be a good next step for us and would be useful at some point.”

the second UK lockdown. “It meant we didn’t have to transfer everything over in a five-day period,” explains Benn.

“We took a couple of weeks and used the opportunity to rerun cables, move racks around and put everything where we wanted it. If we’d only had Sunday to Sunday, we would have done it completely differently.”

Aside from weekly services, the investment in the new equipment has helped promote KingsGate as a venue for conferences, meetings and award ceremonies. “Before the pandemic, we were doing one or two big conference events a month and so we had to

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KingsGate’s new DiGiCo Quantum 338 console “We knew that we wanted to go from two consoles to three,” continues Benn. “One of the big factors was that we were buying into a new series of desks – so we weren’t buying into an old frame or processor, but we were actually purchasing new technology that would last us another 10 years. Also, we wanted to have matching front of house and monitor consoles so that volunteers can just move between them and be familiar with everything about them. We knew that the console was going to help us really push forward – it’s a big step in transparency and the quality of the processing.”

The new Quantum 338 console was fitted in March this year, coinciding with

factor this in when we purchased the new equipment,” continues Mills. “We needed to make sure our Sunday services weren’t affected – we needed enough inputs and outputs so that we didn’t have to repatch everything after each event.”

The pandemic has also resulted in KingsGate extending its video inventory.

Very quickly in March last year the church created a space in one of the side rooms with a TV studio feel and started recording worship sets, bringing in the main cameras from the auditorium. “That gave us a starting point for our services and we combined that with some prerecorded hosting and prerecorded preaching – and that has

continued throughout the pandemic, just to give us a solid playout system,” adds Mills. “We purchased a bunch of equipment to give us a couple of extra camera channels and some different looks, styles and feels, and also some handheld cameras. We wanted to invest in the recording side of things to make sure the workflow is quite straightforward so we can do these things on a regular basis.”

Despite all the new equipment, Mills is still looking to the future. “We haven’t spent anything on lighting in the last 12 years apart from replacing a desk which was falling to pieces.

We have plans to purchase some lighting and bring that up in terms of quality and the effects we can achieve.

We also want to add another Sony broadcast camera. We’ve got this amazing system in the auditorium, but we’ve had conversations about the ability to use the whole building in an integrated way. As we come out of Covid and everything starts to return to normal, we might want to do a midweek stream from one of the smaller rooms rather than relying on the main auditorium – all of this new equipment will enable us to do things that 10 years ago we’d have thought were way out of our reach. The pandemic has highlighted the importance of video and how it connects people. The new equipment has helped us broaden our reach not just in Peterborough, Cambridge and Leicester but across the country.”

In 2010, a second KingsGate centre was launched in Cambridge, followed by a third centre in Leicester in 2014.

“We all made a huge commitment to make Cambridge work,” continues Charlton. “At the start, we had lots of volunteers that would help in Peterborough in the morning and then jump in their cars and vans with the equipment and instruments and drive to Cambridge for an afternoon service. Cambridge was more of a geographic choice because it’s not too far away from Peterborough and there

were already people who lived closer to Cambridge who were travelling to Peterborough on a Sunday. We chose to do Leicester in a slightly different way – it was more of a calling as we didn’t have an established group of people there. Acoustically, all three churches bring different challenges.”

“We bought a couple of DiGiCo SD9s for Cambridge and Leicester when we started,” explains Mills. “We eventually retired those in favour of a couple of smaller desks – Cambridge was started 10 years ago and the SD9 was a good portable desk. Talking through different options, we came up with a way of using the newer SD9 from Leicester which was compatible with the latest software – it could have Waves and Optocore fitted – and in the end we brought that to Peterborough to act as our broadcast desk.

“The equipment in Cambridge and Leicester is more manageable,” continues Mills. “Pre-Covid, Leicester was very self-contained – we set up a couple of racks for them and an Allen & Heath SQ6 which is much easier for the team to carry around.

Speaker-wise, we have a NEXO system in Cambridge and a Meyer system with an SD9 in Leicester. Leicester is currently looking for a smaller venue which will require different equipment.”

There appears to be no end in sight for the growth that started in a small living room in Peterborough.

Distance is no longer a barrier to worship. KingsGate is in the process of developing an online campus. “The new technology we’ve acquired has given us the chance to develop our online campus – without it we wouldn’t be able to achieve what we have so far,” concludes Mills. “We’re always looking for these extra wins that we can get by spec’ing a new piece of equipment or putting in a couple of extra cable runs – we’re always trying to reach new people in new ways.” www.digico.biz www.kingsgate.church

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KnowHOW

Analogue to digital – making the transition Part 2 In the second part of this article, Gordon Moore looks at the planning and implementation of the changeover

Gordon Moore connecting the stagerack to the Dante network

IN PART 1, WE DISCUSSED THE extensive planning phase for changing your sound system from an analogue-based platform to fully digital. Developing a new signal flow, a new routing architecture, planning for training and selecting the equipment best suited to your unique needs are all part of a comprehensive design planning stage. Next up, planning for and executing the final implementation.

Planning the actual physical changeover is nearly as critical as coming up with the new design and equipment selection. First, determine exactly how much time you actually have available. For our last upgrade, we had Sunday afternoon (12pm) until 6pm Wednesday evening to complete the job. You will need to plan for each aspect of the new physical layout to fit within your timeframe. Rare is a church which has more than a week to get everything finished. Your schedule should include (but is not limited to): 1. The required cabling – how much will you need to achieve every connection?

2. Factory-made or custom cabling? a. Factory-built cables can – if purchased from a reliable source – simplify your installation. A well-made Category cable or digital AES cable makes it easy to pull from the store package and simply

The stagerack – note the two light Cat6 cables carrying all audio signals for a 56-in/24-out rack

Old analogue cabling removed from the sound booth – more was taken from the booth to the stage connect things together. There are some drawbacks. The first is cost – fully built cables (well-made ones) tend to be more expensive.

The second is clutter. Because the prebuilt cables are available only in certain lengths, your rack will have excess cabling in many places that will make for a messy rack. The third is waste. Excess cables means materials that are not needed will go to waste. b. Custom cabling – built onsite – has the advantage of cost control. A reel of shielded Cat6 is relatively

inexpensive. Your only additional cost is your labour. Another advantage is quality control.

Many factory-made cables have inferior connections and may give you problems. I am actually in the habit of dissembling and re-terminating new cables to correct cold solder joints and miss-wired connectors. The biggest disadvantage is the time required to make custom cabling. For a typical house of worship, I would not be surprised if the labour of making exact cabling for clean

racks will add an additional day of work. But that clean, beautiful rack will be so much easier to service if the cables are neat, clean and well labelled. Take time to carefully analyse your final cable requirements. In my church, our last conversion to fully digital involved pulling out thousands of feet of analogue cable and putting in only about 60m of shielded Cat6. As a result, we only had a few Cat6 terminations to make (instead of the dozens of analogue connections we were replacing).

The total termination time was minimal. So we went with a mix of custom cables where required and stock cables when they were of the correct length.

3. Backup time – if you haven’t already done so, calculate how much time you will need to back up essential computers and mixer configurations.

Backups take time and need to be done before you begin tearing down the system. Document all your mixer and analogue device settings – this information may prove helpful later on.

Use a mobile phone to photograph everything before beginning teardown.

4. Teardown time – during our last upgrade, we allocated one full day for simply taking the old system apart.

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KnowHOW Generally taking a system down completely can go pretty fast but we reserved a full day. As we removed old gear, it was allocated to three piles.

The first was the disposal pile – the gear that was so hopelessly dated, there could be no good future use for it. In my experience, houses of worship are always very reluctant to throw anything away. The rubbish bin is your new best friend. Old worn equipment will only take up space in a closet somewhere, be in the way and be a temptation for an unauthorised “helper” to somehow bring it back into your new system. Throw old gear away! Dispose according to good environmental practices but whatever you do – get rid of it.

The second pile was the gear which is still very good but no longer useful for you. This equipment should NOT be kept but either sold or gifted to a smaller house of worship which may welcome any addition to their system that they could not afford. A good analogue mixing console may be a welcome addition for another church or local school.

The third stack (which should be the smallest) is the gear which you do want to keep that really may be useful.

Good microphones, direct boxes, mic cables, headsets or headphones, etc. You may not use a hard-wired microphone much if most of your new stage is wireless but you never know when having that spare could save a service.

Teardown time also needs enough time allocated for cleaning. In our last update, we stripped down every rack, vacuumed out years of dust (New Mexico is very dusty) and cleaned the racks with cleaning solution bringing them back to a nice clean starting point. Keeping your current amplifiers?

Carefully vacuum all vents and fans (amps off please) and wipe down

A prebuilt mini rack for Dante distribution saved time onsite exterior surfaces with a slightly damp rag to pick up dust. Clean the floors and carpets (guard against static discharge).

Next, plan your rack building time.

Plan enough time to rebuild your racks and carefully terminate all connections.

If you did a good job in the planning stage, you will have diagrams of the required cables to help guide your assembly and assure that a critical connection is not forgotten. Allow enough time for good cable labelling.

Attach the label to the cable at least a full hand’s width from the termination.

This gives you room for making changes in the future.

Pay attention to your division of labour.

If you have enough qualified volunteers, you can have simultaneous rack builds and shorten your setup time. Create

Floor pocket – note the pull strings left in place for future cabling

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A skilled helper handles critical soldering tasks onsite working from detailed instructions

teams based on skillsets. Those who are good at terminating Cat6 cables should be responsible for those cables.

Those who have strong soldering or rack build skills should handle the physical builds according to your plans.

Prebuild as much as possible – don’t waste half your first day of assembly unboxing equipment for the first time.

Everything should be unboxed and checked for damage well before your installation begins. If some of these components need programming, can you allocate programming time in advance?

Arrange a cleanup team. Their responsibility will be to constantly clean, gather up empty boxes and packaging, and keep the waste material lying around to a minimum.

Have a short plan on what to do with recyclable materials. This is a great task for the volunteer who doesn’t have other required technical skills.

Make a daily schedule that clearly reflects the preparatory phase and the installation phase.

One critical decision you must make is “when do we remove the old analogue cabling?” It is easiest to pull all the old cables before you put in your new networking cables. This, however, will fully commit you to the new system. If anything goes wrong, your old system will be completely gone and you will be without sound. (I always called that possibility the “Acapella Sunday”.) If you keep old wiring in place, you can have a fallback position should the installation develop issues that cannot be resolved before your next event. Unfortunately, that also stretches your timeline for completion.

Your other option is to pull all old cabling during the conversion – it will commit you to a successful completion. In my experience, I have found that it is rare to have a complete catastrophe and it shortens your timeline considerably. During our conversion, we pre-wired and tested all the new equipment in the weeks preceding the installation. We knew we had all operational equipment going in before we started. So, as we removed

old cabling, the new cabling followed quickly and was in place for the new racks and equipment.

Pre-configuring the new gear also gives you a chance to make critical decisions in terms of your system architecture. How will you route your signals? What subgroups (or DCA groups) will you need to construct?

Identify all the setup parameters you can program before going live.

Examples of initial parameters include: Initial channel input gain (use your old system as a reference).

Routing – both internal for the mixer and external for outboard gear (what signals will be sent to which channels on your IEMs, streaming, amplifiers, overflow rooms, etc.?).

DCA or group assignments – you already know in advance which channels you want to control as a whole – set them up in advance.

Labelling – most digital consoles allow channel labelling – the modern equivalent as the scribble strip – so pre-label before installing.

When it is time for commissioning, you can address the parameters that need a live room before setting, such as: Channel EQ and dynamics (input filters, compression limiting, etc.).

Output EQ for amplifiers, streaming and IEMs. Final gain structure – tweaking the input channel gain and the system gain for your best signal-to-noise ratio.

Allow time for commissioning – gain structure, equalisation, compression, limiting and routing. For 24 channels of input audio, I planned for a full afternoon.

When commissioning the system, try to arrange for key performers and worship leaders to come in at scheduled times for dialing in their input channels. Work first with individual instruments or staff. Set gain for the drum kit ONLY with the drummer present – you should be able to set up an individual channel within a 20-minute time frame. That means three performers per hour – make appointments. Save after each setup – you don’t want to lose your previous work because someone tripped over a power cable. Once all the individual performers are set, then you can have a full band/stage practice session where you can dial in the new mix and EQ. As you can see, switching from analogue to digital is not a hard journey but it is a detailed and long journey.

Do your research, read the manuals, communicate with everyone involved.

If you spend 20 hours planning and documenting your conversion, you may save 40 hours of labour and setup time. Plan your work, then work your plan! Mix well and be Blessed.

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What makes a church video expert?

Casey Hawkins considers what credentials to look for in a video technician EVERY CHURCH IS DIFFERENT, OF course, but over the years I have seen some common essentials when it comes to what is generally needed out of a video technician/producer on church staff.

My job at my church has varied over the years. I have been responsible for many things ranging from producing weekly announcement videos to engineering and upgrading our cable TV channel from SD to HD. I specifically mention those two job duties because they show the wide spectrum of abilities I possess that have made my position unique. I must be able to produce content, direct all the live events on campus as well as engineer professional broadcast equipment at the same time. So, what is more important? It depends greatly on your specific needs but, at some point, all church video people are engineers as well as producers and directors. That is not generally true in the broadcast industry. A producer/ editor or a director at a TV station will not have to fix or install equipment because they have engineering staff that does that (unless it is a very small market). So let us dive into the two worlds and hopefully you can

better understand what you need at your church.

The producer/director My guess is you need someone to make content for your social media, for use in your worship services, or both. So, you design a position and then seek the qualified candidate. You are probably mostly going to look at their portfolio of work they have done in the past and hopefully you will make sure they are familiar with the flow of a church service as well. What makes a good video producer? Many things make a great producer, but mainly their ability to use, and the extent of their knowledge of, the different types of software and video systems they will be working with. Their ability to compose shots properly and establish proper lighting and audio acquisition, etc., are also very important. They also need some experience at not only producing videos but directing live programmes too. Not everyone can do both. What makes a good director?

Someone with effective communication skills, who knows how to work with and motivate and train volunteers, who can anticipate things happening without

warning or preparation, anticipate and respond accordingly to live events and who can lead a team. There are some lesser known and often overlooked aspects of the proper candidate.

You will find all kinds of different levels of talent and skill in your applicants.

One thing that will set many apart are their styles. Some people will have more traditional techniques and others will be on the cusp of cutting-edge and trendy styles. You need to find someone that is in line with your church congregation and leadership. Hiring a trendy producer or director for a very conservative and traditional church membership is going to be a potentially bad situation for both church and producer. It will most likely end in a termination of the employment on one side or the other. Repeat mistakes on choosing the right mix of style for your church can create a revolving door in this position that can leave a bad taste in the mouths of many after a while.

So, make sure you find the right style.

Keep in mind that as time goes by and things change, your video producer will need to adjust, or they might end up becoming a bad fit someday. In some cases, at my church during the Covid shutdown, some stepped up and were

a great asset in going all digital for a few months and others sat back and did nothing because they couldn’t handle the changes. Make sure they are willing to adapt to change and, if there will be little to no change, make sure they are fine with no change. That is true of any staff member, but I felt it important to echo that here.

They need to have the right balance between producing videos and graphic design and live directing if your video person will be expected to pre-produce service content as well as direct the live programme for your livestream or IMAG screens. Decide what is more important for your church before you start looking at candidates and writing the job description. If all you need is a producer for pre-produced content, then live directing is not an issue. On the other hand, if you don’t need much pre-produced or if that is not the main job requirement but live directing and streaming is, then make sure they have live directing experience. There are a lot of skillsets on both ends of this that are learned, not natural. A live director will need to schedule volunteers and direct them during the service as well, so they need to know how to communicate and lead. A producer

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KnowHOW really doesn’t need to have those directing skills to produce good videos.

The video engineer “We don’t need an engineer; we need a producer/director!” Be careful, those might be your famous last words. If your church has any equipment whatsoever, then you need some level of engineer to maintain it. All equipment needs fixing and maintenance at some point and, eventually, replacement. The challenge for churches, in my opinion, is finding the right skillsets in their video and media staff. All too often I see IT gurus and computer geeks default into video and media staff for churches and, while they might be the best person in the room to do it, if you are seeking qualified staff to do the job then it’s important to understand the need for a video engineer.

Understanding how systems work together and how signals flow is imperative for someone in the professional video engineering industry. A person who has done nothing in their video background other than shoot and edit will probably not know how to install, maintain, acquire and integrate the equipment necessary to do live productions

and streaming and, most likely, you will need someone with those skills.

Where do you find these skills?

You can find them at TV stations, larger hotel AV staff, university and college AV staff and even other

sector. If you need a professional video engineer, search the broadcast and AV world.

Just a few of the typical engineering tasks that I perform at my church job include resolving/replacing TV

HOW video technicians can be engineers as well as producers and directors churches. Where might it be harder to find them? Schools (students), IT departments and social media/ web design firms. If you need an IT technician, then search the IT industry for one. If you need a webmaster or social media director, then search the web design and public relations

monitors on campus, installing fibre optic equipment that manages signal distribution across the buildings on campus and between our main and secondary campus, determining the need for and installing new equipment, maintaining our camera systems, video switchers and recorders,

managing the livestream systems and encoders, maintaining the cable channel equipment and systems so that it stays on the air, maintaining our Roku channel and building and implementing new OTT channels, assisting other staff and speakers with presentations and connecting their devices to the video and audio systems needed for presentation, and determining the cause and finding and executing the resolution of any video equipment problems, which are too lengthy to list here. None of what I just listed ever involves me shooting and editing a video, and is actually a full-time job where I work.

Who is more important, the producer, director or the engineer? All of them!

My whole point is that you will be best served by the candidate that exhibits competencies in all those areas.

Those folks will probably be middle aged or close to it because a career in both production and engineering takes time to accomplish. I understand that many times, budgets and resources are limited, and churches can’t always get exactly what they desire or even really need. But I would encourage you to look in the right places and try to get the right fit before just hiring or engaging the “most techy” guy in the church. I don’t think you will regret it.

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KnowHOW

Shedding light on what’s important

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John Black provides some inspiration for HOW technicians as we head towards the holiday season and into a new year thinking they had just experienced a cool event. Rather, our job is to use our craft and the resources at our disposal to assist and encourage an attitude of worship.

When you think about it that way, it’s a high calling and we have a big responsibility. It means that we can do things that prevent or distract worshippers from being able to have that experience. Wow! Every lighting cue, colour choice, lighting effect, camera angle, service transition, audio mix and more contributes towards achieving that goal. And this is not only true when services are live, but it’s true in our broadcasts and streams as well with virtual attendees of our services.

The pandemic has not provided an opportunity for us to slack off but to think about how we fulfil this goal in multiple platforms and mediums.

We have been tasked with taking a live experience and creating a virtual experience as best we can rather than a virtual viewing of a live experience. That’s no easy task!

Lighting doesn’t need to be flashy to create a lasting impression AS WE COME TO THE END OF 2021, what better opportunity do we have to pull back and reflect not only on the year behind, but also to re-focus, re-centre and think about why it is we do what we do. When writing the 2020 November–December article, who would have thought that at the end of 2021, Covid would still be having its hold on the world? And yet here we are.

In some parts of the world, businesses, schools and houses of worship are gathering in person once again and beginning to get back to some semblance of “normal”. You may find yourself leading into a holiday season of worship services that look more like they did pre-pandemic than in 2020. In other parts of the world, however, near-lockdowns are in place with tight social distancing restrictions, preventing people from gathering personally or in houses of worship. The holiday season, traditionally one of the busiest “production” times of the year for HOW technicians, may be filled with virtual events or even fewer events, if at all.

And despite the challenges that we face, I personally believe that there are opportunities for good that can come from it. The ongoing pandemic has provided us all with an opportunity to slow down and reflect on what had become “normal” and to decide whether we would return to that “normal” or make a new way forward.

This has been true for me as I am sure it has been for you.

As such, I’d like to offer some points of reflection, hopefully shedding light on some of the important things in the life of a HOW technician that can often be pushed aside for a myriad of reasons. I encourage you to reflect on these with me during this holiday season. They are in no particular order, but hopefully will provide some inspiration as we all head into the new year.

The ultimate goal As a technician, designer or other production personnel in a house of worship, it is always important to step

Teamwork is key to successful ministry Image courtesy of KLANG:technologies and Seven Rivers Church

back from your work and remember the goal of each worship service.

Ultimately, it is to create and provide an environment where worshippers can connect with God. It isn’t about creating a concert environment, being “flashy” with our lighting effects or having worshippers leave

Therefore, look back on your services during this past year.

What decisions did you make as you designed, lit or produced your services that helped you create a worshipful environment towards achieving this goal? What decisions did you make that may have created

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KnowHOW more of a distraction to worshippers?

How will that impact your work moving into the new year?

Serving the team It’s not uncommon – or even wrong – to be thinking about how to do new things, push the boundaries and grow the “production value” of your team or worship experience. We all want to grow, to upskill and to make improvements. Often these goals mean that the entire team needs to grow, both in terms of skill acquisition as well as size. The one danger with this is that too much focus can be placed on scheduling, training and recruitment, rather than really getting to know everyone on the team, investing in each other and serving one another.

Production teams in houses of worship are unique in that they are often comprised of volunteers. These technicians may be youth, working adults or retirees wanting to continue being active. They may have no professional training, or they may have college degrees in technical theatre, media production or another related field. Some may live close to one another, attend school together or work together. Others may only interact with other team members during the services that they work on.

But, in the end, they come together to form a team that works together towards achieving the goal of a worship service (addressed above).

As they do this, the question then is: who is serving the production team? How and when do they find the opportunity to worship? How do they grow in their faith? Who serves their needs? Who invests in them personally? If you lead a technical team in a house of worship, I will argue that that responsibility falls to you. Yes, it’s important to ensure that

Good stewardship of equipment includes maintenance your team can do the work that they need to do, but it’s just as important that you lead and invest in their lives and create a culture where the team knows and serves one another.

Therefore, look back on your team, whether paid or volunteer, and your involvement (or leadership) over the past year. What decisions did you make that built into their lives and served each person individually?

What decisions did you make that prevented you from doing so? How will that impact your work and your relationships with the team moving into the new year?

Stewardship in all things The production world is a technologyrich world. As such, that means that the technology is always changing and improving, with new gear coming to market at a fast pace.

It is tempting to always want the newest, best gear and to rationalise that desire in our minds by telling ourselves what we could accomplish if we got our hands on it. It’s a neverending cycle.

Production gear can be very expensive while production budgets can be quite modest. If you recommend or make final-

purchase decisions in your house of worship, you have the responsibility to ensure that you are stewarding those finances well. In production, equipment costs can vary greatly. For example, a single lighting fixture can range from a few hundred dollars to over $10,000 for some automated fixtures. Therefore, it is important to fully understand your goals for each piece of equipment, the expected lifespan and whether you can properly maintain the piece to ensure that it functions as long as possible.

Personally, though, I believe that stewardship extends beyond the budget sheet and purchase order.

Stewardship also means taking care of and extending the useful life of equipment already owned as much as possible through preventative maintenance routines and regular cleaning. Stewardship lasts throughout a product’s lifespan. It is a mindset – a way of operating – that should be the expected “norm”, particularly in the house of worship setting. It is not uncommon, for budgetary reasons, for houses of worship to need gear to extend beyond normal expected life cycles.

After all, equipment is expensive.

Case-in-point, the main loudspeakers in one of my theatres is about to turn

20 years old. That’s a huge returnon-investment. Of course, there are better technologies available now, but they still are meeting our coverage needs.

I must mention, however, that stewardship does not mean to use something until it dies. I believe that stewardship means understanding when trade-in values of equipment are valuable, as well as serviceability and preventing interruption to operations due to equipment failure.

In the case of my PA, I’m hoping for a full replacement soon as a failure would result in at least a month of sub-standard sound in the space while waiting for a new system to be designed, ordered, shipped in and installed. Stewardship factors in appropriate replacement and upgrade cycles.

So, look back at your year and think about the equipment that you already have in your inventory, as well as any purchases that you made.

What decisions did you make that stewarded well the budget you were given or the equipment that you already have? What decisions did you make that you didn’t steward well?

How will that impact how you steward your resources in the new year?

Moving forward The suggestions above are all topics that I like to think about and reflect on at the end of each calendar year.

Not only does it provide an opportunity for me to evaluate what I’ve done well and where improvements need to be made, but the process of reflection re-centres me and inspires me to do even better in the coming year than I did in the last. As you ponder each of these areas, I hope that you too would find yourself inspired to use your craft and resources in effective, inspiring and responsible ways in 2022.

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TECHNOLOGY

One event, two experiences Hybrid events are the new hot topic, but how can houses of worship make in-person and livestreamed services equally appealing to both audiences?

THE TALK OF THE TOWN EVER since the beginning of global lockdowns has been streaming.

The timings and schedules still vary widely by country, but many congregations have now reached a situation where guests are being welcomed back into the sanctuary, even if in limited numbers. As brilliant as we can all agree this development is, it presents HOW technical teams with yet another set of challenges to navigate.

Churches responded to those initial lockdowns in a variety of ways, but all embraced technology, be that professional or whatever consumer equipment was at their disposal, to continue spreading their message.

The closest representation of a typical service came with live video streaming, and soon that became the favoured choice of many. This was a major leap forward for many HOWs and required a steep learning curve with little time to adapt.

While the ultimate goal might be to provide home viewers with an experience that mimics the

Creating online content at New Creation Church in-person service, those involved behind the scenes on the production know just how much has changed.

Architectural and environmental changes to facilitate the switch to broadcasting; programming and

creative changes to reflect the different viewing platform – these have been made to cater to the home viewer, but the reality is that as congregants return, they will not do so en masse. We now have

two audiences to consider – those present live and in person, and those who either prefer the new online offering or are not yet ready to return in person for whatever reason.

“Prior to the Covid situation, our involvement in streaming services from churches was noticeable but not a large element of what we did,” reflects Ashdown Audio Visual’s Ian Chisnall. “Then once the initial lockdowns ended, we got a significant increase in requests for streaming provision for settings where the priest or the minister would do a service and, in some cases, involve musicians. This included packages such as Zoom so that people can respond to one another as well as participate in the service being provided by the team. As matters are now returning to more like normality for some of us, the challenge becomes how to ensure that people who are wanting or need to remain at home can still participate via the internet as they have been doing over the last year.”

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TECHNOLOGY

During lockdown, Casey Hawkins’ church pre-produced content to replace live Sunday services This has been a familiar challenge faced by our regular columnist Casey Hawkins at his church in Texas. “Returning from Covid was probably as traumatic as abruptly closing services in March, except that we were much freer to make decisions over time, so it felt slightly easier,” he says. “We essentially went all-digital, online, in the matter of a single week in March but we have returned to inperson services gradually over the past 10 months. When we started to return, we were pre-producing our livestream content instead of streaming live. Within two weeks of returning to in-person services, those who wanted to continue to stay home and watch online, wanted to be part of the live action once again. If you have been preproducing content to replace live Sunday services, then be prepared to return to livestreaming your live services. Do not continue to preproduce content and continue to do ‘simulated lives’.”

The merging of disciplines could be a make or break moment in programming. By allowing everyone to join in, but diluting the experience previously afforded to both, is this an attractive proposition for either viewer?

Will the “live” environment during services add to the ambience of a livestream or have viewers got used to the whisper-quiet, studiolike atmosphere and crystal-clear audio intelligibility you’ve worked so hard to create over the last year?

Does clear messaging take priority or the sense of community feel?

Do you simply prioritise the largest audience? These are all aspects of the church service “production” that have to be revisited from a new perspective. And the goalposts

are going to continually move.

One of the cheaper, quicker and most effective approaches for small churches has been moving away from the stage into a small greenscreen studio. How will this be handled in a hybrid world?

“Hybrid events of any kind certainly do take planning and preparation to provide a good experience for viewers in the sanctuary, as well as

life – audio, visual and lighting – will require a rethink, and there are logical aspects of each to focus attention on first.

Chisnall continues: “Audiences will need to be able to hear and see what goes on in the place of worship and, in some settings where hybrid services are being used in a progressive way, that their responses can also be heard by the

HOWs need to pay attention to the colour temperature of lighting for livestreamed services Image courtesy of Lighthouse Church those watching online,” explains our resident lighting expert, Elation’s Bob Mentele. “For example, the differences between the image that a camera can produce and what our eyes can perceive when there in person are important to know and plan for. Our eyes have the ability to distinguish and process variances in levels of brightness or intensity of illumination between two objects in our field of vision far better than a camera can.”

All the three major technologies we rely on to bring services to

congregation and the leadership at certain times in the service.

Clearly, the audio provision that will be sent out to people on the internet has some of the same elements that have occurred in the last few months. The people speaking out to the congregation and the people watching online need to be heard and so will require an audio system that will involve conventional microphone systems. Many churches have used those for decades in terms of the amplification systems.

“However, the less consistent element is to capture the audio from both the congregation and choir so that the people watching online can hear the whole of the event. The acoustic gathering from the congregation and indeed in many cases the choir will require a different set of microphones than the ones used by the ministers.

But this is still a one-way approach from the church building to the internet.

“The other element is how to enable people who are wanting to contribute from home in terms of prayers and other comments during a service. Would churches welcome people who are home-based (or located outside of the church) to pray in front of the congregation and potentially read a Bible passage? In some cases, there may be a way for visually showing the person online; in other cases, it may just be an audio element.

Clearly, the church will need people willing to coordinate such matters both visually and in audio matters.

Even if the hybrid approach is not going to work well, the need for the background audio to be collected within the audio system and transmitted out alongside the voice and musical sources as part of the streaming is vital and there are many products on the market that will enable that to take place, but it will require the internal audio system to be upgraded to enable that to happen.”

Mentele tackles this hybrid challenge with illumination in mind. His advice for HOW technical teams is that when considering the lighting for your space, you will want to ensure a careful balance of illumination across the entire area that you want to cover with your camera system, “whether that be just the pastor or the entire chancel area,” he notes. “We want to make sure we eliminate any dark or bright areas that the camera will not adapt to as well as we can when we are watching in person.

“We also need to pay attention to the colour temperature of the lighting within the room more than we had to when we were holding inperson services only,” he furthers.

“A camera is not able to blend two different colour temperatures of light together like our eyes can and so we need to make sure all of the sources of light in our room match each other, whether they are naturally occurring through windows in the space, or if they are lighting fixtures.

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“We also need to ensure that the product being produced for both audiences is pleasant and easy to watch. The most important aspect for us is to ensure that we are balancing the final look of what we see in person compared to what we are sending out over the camera stream. Make sure when preparing for a service that you look not only at what you see in the space, but also what the camera is seeing by turning the video system on and comparing what the monitor is showing. That

is the only true way for us to get a sense of what we are doing for both audiences.”

When it comes to video, content really is king, and the more varied content on offer the better. If possible, provide some form of visual feedback of the virtual guests for in-person attendees, for example, a shared message board displayed close by to the main speaker or preacher. You could encourage those in the pews to interact with the platform in the same way that virtual

attendees would, further solidifying the notion of “a single viewer”.

Beyond chat and text Q&As, look for a platform that provides real-time presentation feedback from remote attendees, similar to social media functions such as like, applause, standing ovation, etc. Analytics that track these and related items such as length of viewing and when an attendee leaves can also be very useful in gauging the effectiveness of your presentations and, ultimately, the attendee engagement.

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Green Acres Baptist Church recording a service with no audience

Throughout all of this, focus should be on providing continuity and a consistent experience for regular viewers. Consider developing separate content for remote attendees. There are times at the face-to-face event that may not be well suited for remote attendees, such as during receptions, service breaks and coffee breaks. Separate interviews with speakers and thought leaders are among the possibilities.

Also, leave blank times for remote attendees to take breaks.

This is just a small taste of things to be aware of when it comes to offering hybrid services. Common-sense considerations such as ensuring that the sessions are a digestible length for remote viewers and incorporate other elements that require direct involvement from the online audience are just as crucial when it comes to making the wider congregation “feel as one”. But the choice and use of audio, video and lighting technology will be vital in managing this new hybrid process effectively. Maybe it’s time for yet another technology upgrade or, at the very least, maybe it’s time to consider what changes need to be made to make both inperson and at-home audiences feel equally immersed in the service.

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TECHNOLOGY

How video is helping religion reach further

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Veset CEO, Igor Krol, looks at how churches and religious organisations can reach even bigger audiences

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First Baptist Church Cleveland has reached wider audiences through livestreaming Gospel TV is available across multiple devices and platforms RELIGIOUS BROADCASTING IS certainly not new, but it has seen a significant rise over the past year.

According to Statista, in 2018 just over 11% of adults aged 50–64 watched religious programmes on TV. Fast forward to 2020 at the beginning of the pandemic, Life.Church streamed to 4.7 million devices, quadruple its typical reach. There are two main things happening to shift the landscape for religious broadcast. First, live broadcasting is much more attainable than it has ever been.

Second, the demand for religious broadcast content has risen, driven mainly by a lack of in-person services throughout the pandemic, followed by a reticence by many to return to services. Even when normality resumes, those religious organisations that have discovered online video are reaching new, bigger audiences than ever before, something that is likely to continue way beyond Covid.

With a rise in demand, how can churches and other religious organisations maximise the potential of broadcasting to reach bigger, more global audiences?

Why stream?

Before we tackle the how, perhaps we should discuss the why. It is clear that many churches have had to innovate fast to move to online services while they couldn’t take place in person. Post Covid, is there any point or should we go back to the status quo? In actual fact, this type of content has already been growing in popularity and there are a number of channels which were already devoted to this type of content way before the pandemic. Icelandbased Gospel TV has been operating since 1991 and broadcasts Christian content 24 hours a day. This includes services from churches across the UK, US and Scandinavia. A localised version is available in Iceland, with an English-language version available across the rest of Europe, reaching

more than 49 million households over free-to-air satellites.

Many statistics seem to point to the fact that livestreaming church services leads to growth. This is not surprising given that many people may be reticent to attend church but do wish to worship privately. This sentiment is particularly prevalent amongst the younger generation but has risen further for all during Covid. Having access to a remote service delivers that. The First Baptist Church Cleveland is a great example of a church that has really embraced livestreaming to reach a wider congregation. The church is delivering both live worship and regular festivals, as well as prerecorded content. The church is also using video to help achieve its aim of receiving $410,000 donated to the Global Missions Offering. Reaching a bigger audience is undoubtedly key for reaching milestones such as that, something simply not possible if you are limited only to people able to attend the church in person.

How live broadcasting has changed Livestreaming can seem quite a daunting prospect. With on-demand content, you have the opportunity to edit the content and make it available when you are ready. With livestreaming, the entire process needs to happen at once, from creating the content, recording and streaming to your audience, all while ensuring the video is good enough quality to ensure a positive user experience for your at-home congregation. For small churches in particular, this may seem insurmountable.

It is easy to see why when you consider that historically, broadcast productions have been reserved for organisations with large setups of both hardware and personnel to manage that. That is no longer the case, thanks to cloud pro video tools. It is now possible to manage the entire process in the cloud with easy-to-use tools on simple web browsers. In

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TECHNOLOGY particular, Amazon Web Services has been a driving force in this shift with its media services, but there are cloudbased tools for every part of the video workflow that totally shift the complexity normally associated with broadcast.

These are making this entire process much simpler, often meaning anyone can operate them easily with no need for prior video experience. They are also much more cost-effective because in most cases you only pay for what you use. At the same time, cloud tools available today are professional grade so make it possible to deliver high-quality video to multiple channels.

This means they can serve every type of user, from a small church wishing to broadcast Sunday services once a week to a large-scale broadcaster.

Some of the larger churches and religious channels have a professional scheduling team working to schedule VOD/pre-recorded content to create channels 24/7.

Getting religion online Cloud video tools are certainly making broadcasting more accessible for religious content and helping it reach a wider, more global audience. There are also a wide range of platforms to choose from to broadcast your content so how do you get set up and how do you decide

Gospel TV broadcasts Christian content 24 hours a day which platform will work best for your audience?

Aside from the obvious need for video and audio recording equipment, you need to ensure that once recorded, that video can be distributed. This is done using a playout solution, which can handle scheduling, insert ads if appropriate and distribute that video content to any desired end platforms, whether that is traditional broadcast channels, OTT platforms or to social media channels. Traditional playout solutions were hardware based, meaning huge amounts of infrastructure, but cloud-based solutions mean you just need access to a normal web browser to control them. The solution that best works for you will depend largely on the features you need and the amount of content you are delivering. For most smaller churches,

the emphasis is likely to be on simply and cost-effectively delivering those livestreams.

In the case of the First Baptist Church, Cleveland, it is using Veset Stratus, an all-in-one web app for creating and managing linear TV channels. Live content is streamed directly into the platform and the church creates a daily schedule with that live content alongside any previously recorded videos, predominantly formed from previous event recordings. As it doesn’t stream 24/7, the church needed the flexibility of the cloud so that it would only pay for the time it is live on air. The church also adds graphics and subtitles within Stratus, helping to ensure accessibility for its entire audience. The live content is then streamed direct to the church’s own website and available globally.

Gospel TV is using Veset Nimbus, an enterprise cloud playout solution for advanced channel management. Being cloud based and integrated with AWS Media Services, the broadcaster still gets the flexibility of the cloud and is able to scale as the audience grows.

However, the channel is generating a larger amount of video content and needed more advanced features. Video is automatically ingested into Nimbus and is quality checked prior to distribution. The channel is streamed to satellite television services across Europe.

The future of religious broadcast Even before Covid, we were already witnessing a significant rise in the demand for religious broadcasting across the globe. Being able to instantly reach audiences anywhere makes it much more viable for religious broadcasters to create their own channels, knowing that there will be a global audience for that content.

At the same time, cloud tools mean that it is both simple and cost-effective for anyone to become a content creator. All of this combined mean I think we have exciting times ahead for these types of broadcasts. www.veset.tv

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SR-F04 / SR-F08

YEARS of passion compiled into a speaker

2-Way Passive Speaker Systems

Designed with compact and stylish trapezoidal enclosure to fit in everywhere, these 2-way Passive Speaker Systems achieves the best sound performance out of the box. The SR-F04 features 2 high-efficiency 4 inches cone-type woofers and a compression driver while the SR-F08 has a 8 inches woofer, a compression driver with rotatable CD horn allowing it to be mounted either horizontally or vertically. These speakers are ideal for small or medium-sized auditoriums and conference room as the main speakers.

We supply sound, not equipment. www.toa.com.sg

TOAasiapacific

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TECHNOLOGY

Colour mixing technologies: what’s your recipe?

Elation’s Bob Mentele discovers the creative possibilities colour mixing can bring to a service ONE OF THE MAJOR TECHNOLOGY enhancements available to lighting designers and technicians today is the ability to create a multitude of colours from a single lighting fixture using a colour mixing system. This colour mixing capability was not always available to us, but we’ve reached a point in our industry where it’s become commonplace. While the technology may be widespread, the method to achieve the effect can vary greatly. Luckily, they can all be classified into one of two approaches: subtractive and additive mixing.

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

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Subtractive colour mixing Subtractive colour mixing is the method we use that’s been around the longest. That is because up until very recently, all our lighting sources were white light only. Subtractive colour mixing works by placing a filter into the light path to remove, or subtract, any colour you don’t want to see. This technology came to fruition very early on, when we still used candle and gaslight. If a technician wanted to change the colour of a flame’s light, he placed a vial of dyed liquid in front of the light source to allow it to emit the colour of the dye mixed in the container. Fast forward a few hundred years, and we now have access to filters made of glass, called “dichroic filters”. These thin pieces of glass are coated with a film that can very accurately filter out any unwanted light wavelengths. We can use dichroics to create a colour mixing system by graduating the level of saturation the filter has on the glass. This allows a technician to control the level of saturation they would like as they adjust the filter.

The image of the filter in Figure 1 is a magenta colour flag from a moving light. On the left of the image you see the colour graduated area – in a mixing system, two of these flags work together and close in like a gate to increase the colour saturation as they come closer.

When using subtractive colour mixing, we often rely on secondary colours of light in our filters.

Those colours are cyan, magenta and yellow, which we refer to as CMY mixing (Figure 2). Each of the filters will remove one of the primary colours of light and leave the other two colours. Cyan filters out red light wavelengths; magenta filters out green light wavelengths; and yellow filters out blue light wavelengths. To mix our white light source into a primary colour only, two filters will need to be used.

Figure 2: CMY colour mixing While this method of mixing colour has become very common in our industry, as before LED lighting fixtures, white light was the only option we had so we had to filter that light to create colours we needed. One downside of subtractive colour mixing is that, like the name suggests, you are removing colour and intensity of the

output to create a colour. As the saturation of the colour increases, the light output decreases, and if you want to mix a primary colour of light, you need to use two filters, which multiplies the amount of light you are removing, again reducing your overall output. To get around the issue of mixing primary colours, Elation lighting developed red, green and blue colour mixing flags and added them to the CMY system, calling it the “SpectraColour” mixing system. This allows for brighter output and richer colours when mixing primary shades.

Additive colour mixing

Figure 1: magenta filter

Additive mixing is a relatively new process that only came about with the adaptation of LED lighting fixtures. Our eyes process colours using what are called cone cells.

These cells can sense only one of three colours: red, green or blue (Figure 3), giving us our primary colours of light. Our brain takes the information from our cone cells and mixes them to perceive other colours.

During the development of LED technology, it was discovered that

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TECHNOLOGY

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more, increasing the price of the fixture, so lighting manufacturers try to stick to colours that are readily available (Figure 4).

One benefit that additive colour mixing has over subtractive colour mixing is that when the saturation of a colour increases, the light output of the fixture is brighter.

White-only engines that use CMY are often brighter in white than colour mixing engines but, once you start filtering the light, colour mixing engines start to become brighter in comparison. Additive colour engines also typically have a higher CRI or

TM30 quality rating, because the intensity of the colours within the engine can be adjusted to provide the best quality of white light, which is not possible with a white-only engine.

No matter what type of colour mixing system you use, it will open the creative possibilities and dynamic effects your lighting can have. There may be multiple ways for you to create blue, depending on the system you have, but the result will still be the same in the end.

The journey may be different, but the destination is the same.

Figure 3: RGB colour mixing we can create emitters that produce different colours. Knowing that our eyes use primarily red, green and blue to create colours, we used those three colours as the basis for the first colour mixing fixtures.

Because we are using coloured light and adding additional colours to the mix, we call this additive mixing.

In theory, relying only on red, green and blue emitters works but, in reality, when combined, the quality of the light they create is less than ideal for our uses. LEDs produce a very narrow spectral colour. Because of their narrow bandwidth, they leave a lot of open space in the light spectrum that our wider band cone cells use. The white light created by red, green and blue only lacks depth and balance and looks pale. To help with this, manufacturers tried adding in a white-only emitter. This addition did help to fill in the missing areas of the colour spectrum, but the white-only emitter is often too dim

to balance with the other saturated colours, especially red and blue, so when white light is needed, it looks blue or purplish.

As LED technology is developed further, manufacturers have access to a wider variety of coloured emitters, so they can start adding in more colours to fill in gaps along the spectrum, which helps to produce a more natural, even white light. Many manufacturers have their own “recipes” in their fixtures to create a high-quality white light. The most used colours include red, green and blue of course, but also white, lime, cyan, indigo and amber. Fixture designers often adjust the colour mixture in a fixture depending on the application the fixture is going into, but also the space available in the fixture for the LED engine. More colours in the engine means more space is needed for the fixture to be bright enough for the application.

Non-common colours also may cost

Figure 4: spectrum graphs

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NEWPRODUCTS

PRODUCTS

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

A–ZCONTENTS

Yamaha releases DHR and CHR Series speakers Quality, accuracy and performance are the driving factors behind Yamaha’s new additions to its professional audio line-up BOTH THE DHR and CHR Series have been designed to meet the demands of a variety of sound reinforcement applications. The 10-inch models are equipped with rotating horns and compatible with an optional UB-DXRDHR10 U-bracket for use in fixed installations and utility, while the 12-inch models are the first Yamaha speakers to feature a

coaxial compression driver for improved clarity and smoother frequency response for floor monitoring. The largest in the lineup are the 15-inch models, which feature dual-angle pole sockets and rigging points for use in fixed installations or as temporary main speakers for sound reinforcement.

The DHR Series transducers are driven by DSP-equipped Class-D

power amplifiers to deliver enhanced sound quality and clarity. Following in the footsteps of the high-end DZR/CZR and DXRmkII Series as well the DBR/CBR Series, the new speakers are housed in a premium plywood cabinet finished in a tough polyurea coating.

Absen

JD Series 55

ADJ

Focus Wash 400 57

AJA

OG-FiDO-R-12G-ST 50

Allen & Heath

DT20/DT02/DT22 47

Analog Way

Picturall Mark II series 49

Ashly Audio

AWT+ 46

Astera

AX9 PowerPAR/PixelBrick 55

ATEN

UC9040 StreamLIVE PRO update 54

Audix

A10/A10X

Blackmagic Design

Blackmagic Studio Cameras 50

Bose

ControlSpace Designer 5.9.1 48

Christie

Captiva DWU500S/Core Series II 54

Clear-Com

FreeSpeak Edge Base Station 47

CODA Audio

HOPS12i 46

47

d&b audiotechnik

D40 46

DTS Lighting

Alchemy 7 55

Elation

Pixel Tape 16IP/Pixel Tape 40IP 56

Electro-Voice

PREVIEW 48

Equipson

LightShark FX Engine 56

GLP

Fusion Stick FS16 Z 57

High End Systems

Lonestar 57

JVC Professional Video 4K KY-PZ400NW/NB 51 Lumens

OIP series 52

NDI/Vizrt

NDI version 5/Vizrt Live Production 51

NewTek

NC2 Studio I/O Module 52

Panasonic

AW-HE145/AT-KC1000/AT-KC100 51

Powersoft

T902/T904

QSC

Q-SYS NS Series Gen 2 47

46

RCF

Compact M 04/HD 12-A and 10-A mk5 44

Robe

CUETE 56

Roland

V-160HD/V-1HD+ Remote iPad app 52

Ross Video

Interstellar/Vision[Ai]ry Ft 53

Shure

ADX5D/SLX-D update 48

TOA

EM-362 48

Yamaha

DHR Series/CHR Series 44

www.yamaha.com/2/proaudio

Beyond expectations THE COMPACT M 04 from RCF is a multipurpose, two-way, full-range coaxial speaker system, suitable for a wide range of applications.

It has 60W AES power handling, 113dB maximum SPL and a 90Hz – 20kHz frequency range. The speaker comes with a 120° x 120° constant directivity coverage angle, a 4-inch coaxial woofer and a 1-inch voice coil neodymium dome tweeter. The M 04 features high sensitivity, thanks to the use of oversized magnets, and a hi-fi sound quality, with a smooth and wide frequency response. The SPL level of low-distortion audio the M 04 can provide is said to go far beyond expectations of such a compact solution. According to the manufacturer, the compact design with accurate finishing makes the M 04 suitable for almost any

power 12-inch woofer and a 1.4-inch HF driver, a 1,400W two-channel Class-D amplifier, and FiRPHASE and Bass Motion

Compact M 04 environment, even with architectural constraints. An included wall-mount bracket allows the use of the M 04 on wall or ceiling installations.

The HD 12-A mk5 active speaker boosts performance with a high-

HD 12-A mk5

Control processing. With 130dB max SPL, vocals are described as natural, the sound is clear at long distances and SPL power is stable at very high levels. The lightweight polypropylene cabinet with internal reinforcement reportedly offers maximum strength, and the speaker also includes a steel pole mount, threaded inserts for rigging and rubber handgrips. Also joining the line-up is the HD 10-A mk5 with a 10-inch woofer and a 1-inch HF driver, an 800W two-channel Class-D amplifier, FiRPHASE and Bass Motion Control processing and 128dB max SPL. Both units feature a 90° x 60° widedispersion constant directivity horn. www.rcf.it

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PRODUCTS

Ashly Audio adds a Plus ASHLY AUDIO has extended its AW Series On-Wall speaker series with a Plus model that includes a higher power transformer for added flexibility in larger spaces. Dust and water-resistant, all IP54-rated speakers exist within an Ashly Audio solutions ecosystem that includes Protēa and AquaControl DSP. Varying in size from 2.75- to 8-inch models and designed for varying distributed full-range to limited coverage BGM and paging

The new Plus model, or AWT+, offers a power upgrade to make the speakers more accessible for larger rooms. The AW-5.2T+ is now available at 30W, 15W, 7.5W and 3.75W at 70V and at 60W, 30W, 15W and 7.5W at 100V. The AW-8.2T+ is available at 60W, 30W, 15W and 7.5W at 70V and at 60W, 30W and 15W at 100V.

applications, the AW line consists of the 2.1P, 3.2P, 5.2T and 8.2T wall-mounted speakers. Reducing the off-axis deviation in SPLs to <9dB, Directivity Optimised Crossover is integrated into the 5and 8-inch AW designs to provide a wider sweet spot and an accurate midrange.

www.ashly.com

CODA Audio launches HOPS12i Powersoft adds to T Series CODA AUDIO has announced the expansion of its HOPS (high-output point source) range with the addition of the new HOPS12i. A high-output, three-way point source, the HOPS12i incorporates 12-inch neodymium cone drivers with 4-inch voice coils adapted from those found in CODA Audio’s flagship line array, AiRAY. As well as the manufacturer’s latest DAC (Dynamic Airflow Cooling) technology, it features exchangeable and rotatable waveguides that provide various options for adjusting directivity but, unlike other loudspeakers that only steer high frequencies, the HOPS12i waveguides control all the way down to 300Hz. The means that the broadband energy is focused exactly where required, while keeping it away from walls and other reflective surfaces.

90° x 60° and 60° x 40° waveguides are available, and both are rotatable, giving four directivity options. The low end of the HOPS12i means that in many applications, subs might not be required. As a result, the HOPS12i is said to offer systems designers even more choice towards achieving optimal solutions across the very broadest range of applications. As

THE T902 and T904 have been introduced by Powersoft to extend the applications of the T Series and include larger-scale sound applications. Building on the legacy of the K Series, the T Series was launched in 2019 and provides daisy-chained Ethernet connectivity, Dante audio networking, power sharing, improved DSP with advanced EQ groups and FIR filtering.

with the entire HOPS range, the HOPS12i comes with a variety of accessories and mounting options.

The HOPS12i can be customised in wide range of colours. The latest versions of CODA’s proprietary amplifier control software (Linus Control V2.2) and prediction software (System Optimiser) both contain new datasets incorporating the HOPS12i.

The T902 is a two-channel amplifier specified to deliver 4,000W at 2Ω, 3,200W at 4Ω or 1,800W at 8Ω, and its high rail voltage and peak current on the outputs make it suitable for driving large 4Ω subwoofers (like dual 18-inch) or two- and three-way line sources.

Thanks to the T902’s onboard DSP featuring Raised Cosine, IRR and FIR filters, and precision delay, the T902 can be used for powering

and controlling complex cardioid subwoofer arrangements and complex three-way line sources.

The other new addition to the T Series family is the four-channel T904, which can deliver 1,800W at 2Ω, 2,000W at 4Ω or 1,600W at 8Ω. This new amplifier platform is designed to power biamped systems like stage monitors, two-way point source speakers and two-way

line sources, as well as smaller subwoofers.

Much like the rest of the T Series family, the new T902 and T904 feature onboard DSP, in-built Dante inputs and live impedance monitoring, as well as Powersoft’s Active DampingControl for cable resistance compensation. www.powersoft.com

www.codaaudio.com

d&b goes mobile DESIGNED AS a mobile version of the 40D installation amplifier, d&b audiotechnik has introduced the dynamic D40. Features of the four-channel Class-D amplifier include reduced size and weight and advanced voltage management, while significantly reducing power consumption.

The amplifier’s user interface consists of a 4.3-inch (480x272 pixel) colour touchscreen and a digital rotary encoder, providing information about the device configuration and enhanced

status monitoring. Operating within a dynamic range of 116dB (unweighted), the D40 drives high-voltage d&b loudspeakers while providing management and protection capabilities. Capable of reaching 180V peak, the D40 delivers full performance

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from the KSL, V- and Y-Series loudspeakers.

A comprehensive DSP suite includes loudspeaker configurations and user-definable setups, equalisation and delay functions.

Further benefits include the inclusion of advanced voltage management

to drive systems demanding less input power as a whole. In addition, the D40 includes enhanced energysaving features, power efficiency and an Automatic Wake-up for environmentally sustainable Green Building requirements. As part of the d&b family, the D40 benefits from the full range of d&b technology software solutions, including ArrayCalc, ArrayProcessing, NoizCalc and the R1 Remote control software that unite within the d&b Workflow.

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www.dbaudio.com

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PRODUCTS

Audix takes the A10 to market A&H connects to Dante AUDIX IS now shipping the A10 Both models feature lightweight, and A10X earphones. injection-moulded shells which are The US manufacturer internally textured and ported for has designed the A10 acoustic control and accuracy earphones to deliver throughout the frequency studio-quality performance range. Silicone ear tips for live sound monitoring are included for and critical listening. secure attachment, The A10 features a comfort and dynamic, low-mass sound isolation. moving coil assembly Gold-plated and titanium alloy MMCX diaphragm with a connectors frequency response of 10 provide 360° octaves and accurate phase rotation for ease coherence due to its of placement, while A10 point source design. The silver-plated, oxygenA10X earphones are designed for free copper cable is equipped with an immersive listening experience. a reinforced wire wrap near the At the core of the earphone is a connector to make sure that the dynamic low-mass moving coil earphones remain in place. assembly and composite beryllium www.audixusa.com diaphragm.

THREE NEW Dante interfaces have been added to the Everything I/O range of audio expanders: the DT20 with two mic/line inputs on combi connectors; the DT02 with two line outputs on XLR; and the DT22 with 2x2 I/O on Phoenix connectors. The compact form factor, in conjunction with rugged aluminium casing, is said to make the interfaces suitable for the rigours of portable AV hire, while surface-mount and rackmount kits enable integration into more permanent installs.

The CC-7 (7-inch) and CC-10 (10-inch) touchpanels complement the existing

range of remote-control options for AHM-64, dLive and Avantis mixers. PoE powered and preconfigured to run the Allen & Heath Custom Control app in kiosk mode, they offer an alternative to BYOD in houses of worship and other applications. Multiple user interfaces can be designed by the installer or systems integrator, uploaded to the mixing system and instantly deployed to all connected Custom Control devices.

partyline and two-way radio systems with an intelligent GPIO interface.

The CC-28 has been designed for comfort and ease of use and features enhanced audio quality with a frequency response up to 14kHz. It features a four-pin XLR connector and is a lightweight, single-ear headset with an over-the-head design and a flexible gooseneck microphone. The headset’s dynamic microphone can be muted by moving the microphone boom – rotating it up to mute while

rotating down in front of the mouth to unmute. The CC-28 is the functional replacement of the CC-26k lightweight headset.

In brief, Clear-Com’s new Station-IC Virtual Desktop Client, a Mac- and Windows-based software application, is now available for the LQ Series of IP interface devices as well as the manufacturer’s Eclipse digital intercom matrix.

www.allen-heath.com

Clear-Com takes a leading Edge DEVELOPED AS an IP base station that supports the full range of FreeSpeak digital wireless intercom solutions including 1.9GHz, 2.4GHz and 5GHz, in addition to third-party Dante devices, Clear-Com has launched the FreeSpeak Edge Base Station. Featuring two full-colour, high-resolution touchscreen displays with four rotary encoders, the single 1U device allows four talk and listen channels, enabling the station operator to communicate with the wireless beltpacks.

The FreeSpeak Edge Base Station provides a standalone solution for FreeSpeak Edge 5GHz systems, as well as support for FreeSpeak 1.9GHz IP transceivers via AES67 connections,

FreeSpeak Edge Base Station previously only available through Eclipse Digital Matrix systems with an E-IPA card. The next-generation IP base station supports up to 16 beltpacks and six IP transceivers (10 E1 transceivers), with the flexibility to mix and match bands in addition to up to eight ports of IP interoperability with third-party Dante connections.

With a mixture of IP, two-wire and fourwire audio ports, the FreeSpeak Edge Base Station can integrate a variety of systems, including Clear-Com Encore

www.clearcom.com

QSC announces NS Series Gen 2 PRE-CONFIGURED TO meet the requirements of the Q-SYS audio, video and control platform, QSC has introduced Q-SYS NS Series Gen 2 enterprisegrade, Netgear-

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R1

Q-SYS NS Series Gen 2

manufactured AV network switches.

Designed as a plug-and-play solution for faster and more reliable standalone AV networks, the AV network switches provide real-time transport of Q-LAN, AES67 and Dante audio streams in addition to Q-LAN video streaming and distribution.

Excluding the uplink and SFP ports, each Q-SYS NS Series Gen 2 network switch features standard PoE on each of its ports to provide combined Q-SYS device power, data and control. In addition, two NS Series Gen 2 models support PoE++ for use with Q-SYS

devices, eliminating the need for PoE injectors and external power supplies while simplifying cabling infrastructures.

Providing multicast data management between multiple switches, the NS Series offers intelligent features that automatically manage multicast traffic on the network with integrated Netgear IGMP Plus. Additionally, an optional built-in DHCP server is pre-configured, enabling automated connectivity for independently administered AV systems. www.qsc.com

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PRODUCTS

Feedback from the Imam

A

TOA ELECTRONICS Pte Ltd has specifically designed and developed the EM-362 neck-worn microphone for Imams leading prayer sessions in mosques and other applications where constant body movement

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is unavoidable.

Regular tie-clip versions can pick up unnecessary noise from rubbing shirts, while headworn microphones can create discomfort due to prolonged

wearing and are prone to slip off during excessive movement. Ensuring the optimum audio pickup while eliminating unnecessary noise from body contact standing or in prayer, the EM-362 is worn around the neck and suspended in front of the speaker’s mouth. A flexible shaft allows the user to adjust the microphone positioning and distance between the microphone and mouth.

The cardioid, electret condenser microphone has a rated sensitivity of –35dB (±3dB) and operates within a frequency response of 60Hz – 20kHz. Providing sufficient distance from the amplifier, a 7m cable comes as standard, although a selection switch on the adapter promotes dual AAA battery or phantom power operation. The on/off switch near the microphone allows users to switch off the microphone after use, avoiding noise pickup when not in use. www.toa.com.sg

EV previews speaker placement PREVIEW IS a new platformindependent software tool designed as an efficient way to configure Electro-Voice line arrays for maximum coverage. The software provides 3D visualisations of coverage, SPL and frequency response, as well as precise mechanical load calculations to help users quickly calculate the ideal configurations and positioning of line arrays. It then recommends mechanically valid combinations of loudspeakers and rigging hardware.

The software offers a 3D environment in which objects may be placed and manipulated anywhere, with the user controlling rotation, scaling and translation, as well as the ability to “see through” any surface that is viewed straight on.

Quick Map delivers immediate visualisation of the coverage

density. The flexible auto dB range option maps the predicted SPL across the full available colour range, maximising the visual detail simultaneously in all displays.

Virtual microphone positioning can predict frequency response anywhere in the venue.

The spectrogram display presents a vertical frequency response plot for each speaker at the point at which its main geometric axis reaches the audience area. These plots are shown side-by-side for assessing the venue’s level and frequency coverage. The software simplifies the creation of subwoofer arrays and also includes a detailed report generation function and project file database. www.electrovoice.com

Bose takes control BOSE PROFESSIONAL has announced an update to its ControlSpace Designer and ControlSpace Remote software.

ControlSpace Designer 5.9.1 includes numerous improvements, such as support for AES67 and Dante Domain Manager on all Dante-enabled hardware to improve interoperability and ease of management in enterprise networks.

Also included are enhancements to the system commissioning experience and updated compatibility with thirdparty devices. Updated firmware to support these improvements is included with the software release. The update includes EQ support for newly introduced DesignMax pendant and AMM multipurpose loudspeakers.

In addition, the ControlSpace Remote 2.10 update provides wired or wireless control of networked Bose Professional system components. ControlSpace Remote builder software is used by the system designer to create custom control panels that are sent to the ControlSpace Remote app for operation by end users.

Using control panel templates from within Bose ControlSpace builder, designers are able to quickly create unique interfaces for control of Bose networked pro audio systems running on iOS and Android devices. pro.bose.com

Spectral efficiency SHURE HAS unveiled its dual-channel ADX5D portable wireless slot receiver.

Designed to enhance the Axient Digital ecosystem of wireless audio solutions, the ADX5D has been created to translate Axient Digital into a portable option. The receiver supports a wide dynamic range, AES256 encryption and 2ms latency from the mic transducer to the analogue output. It can easily slot inside and connect directly to the audio inputs of a camera, enabling streamlined connectivity of the two devices. The portability is also said to provide convenience and flexibility, especially for sound mixers who often have discreet powering, audio-routing and/or RF-distributing gear in their portable recording bags.

The ADX5D incorporates ShowLink, which is unique to Axient Digital, and allows for real-time control of all transmitter parameters, interference detection and avoidance. Suitable for remote, hybrid or on-location sound environments, ShowLink makes it

easier to use backup frequencies and provide remote control directly to the linked transmitters. Compatibility with Wireless Workbench supports efficient control and configuration, optimal spectrum management and frequency coordination.

Shure has also announced the addition of free software networking capabilities for its SLX-D. Shure’s Wireless Workbench 6 software and ShurePlus Channels iOS app are now compatible with SLX-D. The software solutions offer the necessary RF management that professionals rely on for critical oversight and control of Shure wireless systems. www.shure.com

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Analog Way develops Picturall range ANALOG WAY has announced the availability of its next-generation, Linux-based media servers. Engineered around a newly developed hardware platform, the new Picturall Mark II series delivers enhanced performances for large-scale events and installations from a single server unit.

Replacing the current Picturall media servers, the French image processing systems innovator has added four products to the Picturall series with the Pro Mark II, Quad Mark II, Quad Compact Mark II and Twin Compact Mark II. Designed for video playback in fixed installations and live events, the Picturall Mark II series can drive up to 16 4K@60Hz LED videowall controllers or video projectors from a single server unit and enough power to play back media up to 16K@60Hz or uncompressed image sequences up to 8K@60Hz. The latest media servers incorporate high-grade hardware components to provide a robust platform and deliver optimised uptimes for any missioncritical applications. To achieve high fault-tolerance capability, the Picturall Mark II media servers feature a redundant, hot-swappable power supply option. Up to six low-latency input

cards can be inserted to capture up to 24 1080p@60Hz or six 4K@60Hz sources with a wide selection of input interfaces available to support one or

more channels of 3G-SDI, HDMI 1.4 or HDMI 2.0. In addition to displaying HTML-based web content with full Java script support, the media servers can

also receive several network video streams and are compatible with NDI live video streaming.

Designed to offer consistent performance and reliability for 24/7 applications, the Picturall Mark II media servers are readily equipped with read-intensive professional drives, with several storage options available to store uncompressed video content. High network bandwidth with two standard 10Gb/s Ethernet connectors promotes faster transmission of media files and more networked video streams. In addition to offering synchronised multichannel audio playback, the media servers also support real-time audio de-embedding and routing from HDMI or SDI sources, network streams and web sources. Equipped with several optional audio interfaces, the Mark II media servers are also compatible with a variety of third-party multichannel USB audio interfaces.

All four products feature an Art-Net interface and Ethernet control via a standard TCP/IP socket connection supported by all major third-party control systems. www.analogway.com

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AJA open up with added Gear and firmware

OG-FiDO-2R-12G

CRITICAL TO cable run reductions and the secure transmission of highbandwidth signals over long distances, facilities demanding fibre solutions are upgrading to 12G-SDI infrastructures.

Offering reliable conversion within the rack-mountable OG-FiDO-TR-12G fibre transceiver, AJA Video Systems has released the OG-FiDO 12G openGear receiver cards.

Supporting extended cable runs of up to 10km over standard singlemode optic cable, AJA’s OG-FiDO 12G cards provide fibre to 12G/6G/3G/

HD/SD-SDI conversion. The OG-FiDOR-12G-ST receiver is a single-channel converter for Single Mode ST Fibre to 12G-SDI conversion. For dual-channel conversion, the OG-FiDO-2R-12G receiver offers two independent channels of LC Fibre to 12G-SDI conversion. Both new models receive 12G-SDI signals from standard fibre video sources and are compatible with OG-X-FR, OG-3-FR and DFR-8321 openGear frames. AJA’s OG-FiDO 12G cards are hot-swappable, support HDR video and feature automatic detection and re-clocking. Support for Ross DashBoard software enables

remote status monitoring on a LAN computer.

In addition to the new OG-FiDO 12G cards, AJA has also released a collection of new firmware updates for select AJA openGear card models.

The v1.5.3 update introduces Extended Display Identification Data (EDID) emulation, for specifying the desired video format to the connected HDMI source. OG-HA5-4K v1.5.3 and OG-12GM v1.1.2 add simple frame rate conversion capabilities from p60 to p59.94 and p59.94 to p60. For the latest audio workflows, OG-HA5-4K v1.5.3 adds support for embedded

J audio passthrough of Dolby Digital and Dolby Digital Plus compressed audio, including Dolby Digital Plus JOC for immersive audio. The new OG-12GM v1.1.2 firmware update also introduces PsF support for inputs and outputs.

AJA Video Systems has also added Desktop Software v16.1 for KONA, Io and T-TAP Pro products, together with AJA SDK v16.1 for Developer Partners. Both releases include native support for the Apple M1 chip, and feature enhancements that optimise audio, broadcast, production and post workflows and third-party tools built with AJA Developer Partner solutions.

Key release highlights include an improved Telestream Wirecast support, including 4K via 12G-/6G-SDI, digital AES and analogue audio inputs, AJA Control Panel enhancements and 64-channel audio support for NTV2 SDK. www.aja.com

Dark arts practised with a full deck INTEGRATING FEATURES common with large studio cameras, the Blackmagic Studio Cameras is a family of compact formats for live production applications. Enhancing portability, the chassis is made of a carbon fibre-reinforced polycarbonate.

The cameras feature gain from –12dB (100 ISO) up to +36dB (25,600 ISO) to reduce grain and noise in images, while maintaining the full dynamic range of the sensor and overcoming difficult lighting conditions. Designed to easily track and frame shots, the integrated 7-inch resolution viewfinder overlays show status and record parameters, histogram, focus peaking indicators, levels and frame guides.

Advanced features include talkback, tally, camera control, built-in colour corrector and Blackmagic RAW recording to USB disks. Together with knobs for brightness, contrast and focus peaking, the touchscreen incorporates camera setting menus.

When combined with Blackmagic generation 5 colour science, the 4K sensor provides the same imaging technology used in digital film cameras. The camera caters for colour correction with 13 stops of dynamic range, which can be controlled from the switcher. The sensor features a resolution of 4096x2160 for HD and UltraHD work and all models support 23.98–60fps.

Featuring an upgraded UltraHD resolution H.264 encoder for livestreaming in native UltraHD, a 4K model has been added to the Blackmagic Web Presenter family. A 12G-SDI input with down converter promotes livestreaming in 1080p HD or 2160p UltraHD resolutions direct to YouTube, Facebook and Twitter. For remote location streaming, an Apple or Android phone can be plugged in to connect to the internet via mobile data. The USB connections of the compact unit simulate a webcam when connected to a PC with any streaming software. Designed for broadcast-quality livestreaming when connected to the internet,

Blackmagic Studio Camera Designed to record H.264, Apple ProRes and DNx video files to SD cards or SSD media with either PCM or AAC audio, the brand has added a new series of four HyperDeck Studio recorders. Intended for live production or multiscreen digital signage applications, ISO recording, timecode and reference generators are built in for syncing multiple units. The 3G-SDIbased HD Mini records and plays H.264, ProRes or DNxHD files onto SD cards, UHS-II cards or external USB disks in SD and HD formats up to 1080p60. The HD Plus and full-rack HD Pro host added features.

The 4K Pro model records H.264, H.265, ProRes or DNx in SD, HD and

Blackmagic Web Presenter 4K UltraHD in standards up to 2160p60.

All four models incorporate dual media slots for non-stop recording and support recording to common SD or UHS-II cards. The DNx and ProRes file formats support H.264 up to full 10-bit 4:2:2 when recording in NTSC, PAL, 720p, 1080p and true 1080i interlaced formats.

the self-contained solution works without dropped frames. The Web Presenter Utility software prompts the streaming platform and updates the streaming key. The monitoring output includes meters, trend graphs and SDI technical data.

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JVC PTZs focus on remote production capabilities JVC HAS unveiled three new PTZ cameras that aim to provide the optimal image quality and performance for streaming and remote production purposes. The KY-PZ400NW/NB and KY-PZ200NW/ NB differ in their output capabilities but are both equipped with ND|HX and SRT streaming, H.265/H.264/ MJPEG encoding and VITC (Vertical Interval Timecode) multi-camera synchronisation technologies.

The third option, the new HD KY-PZ200W/B, provides a more economical solution by removing the NDI|HX functionality.

All three new camera models are available in black or white variations to best match a venue.

4K KY-PZ400NW/NB The KY-PZ400NW/NB is 4K model while the KY-PZ200NW/NB is capable of HD output. All three cameras include SRT, HTTP, RTSP, RTMP/ RTMPS and standard protocols. The

Low light solutions from Panasonic DESIGNED FOR capturing content in low light situations, the AW-HE145 full-HD integrated pan-tilt-zoom (PTZ) camera from Panasonic is equipped with a large 1-inch MOS sensor and optical 20x zoom to achieve high-sensitivity (F9/2000) shooting even in dark scenes. The camera delivers smooth “on-air” moves and supports HDR for capturing images with a high dynamic range. The camera’s 75.1° horizontal wide angle lens captures full shots in large spaces.

The camera supports RTMP to allow direct upload of video to livestreaming services such as YouTube and Facebook Live. In addition, Secure Reliable Transport (SRT) is supported to maintain stability while transmitting high-quality video, even on unstable networks.

Outputs include 3G-SDI, HDMI and IP for the flexibility to integrate with a variety of workflow infrastructures.

Panasonic has also announced upgrades to its Kairos live video production platform. The new Kairos Core 1000 (AT-KC1000) alongside the current, compact Kairos Core 100 (AT-KC100) have been designed for live video production applications. The Kairos Core 1000 mainframe is said to offer more processing power, thanks to increased CPU and GPU capabilities, and enables the platform to be utilised in a broader and more complex range of

AT-KC1000

advanced streaming capabilities of the SRT technology adds automatic repeat request (ARQ) and forward error correction (FEC) to prevent packet loss typically found on internet

connections, as well as stream encryption for content protection.

Additionally, with incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP), the new JVC PTZ cameras also feature multi-camera synchronisation for live event production. This feature is ideal for the mixing and streaming of live productions where image synchronisation is crucial. Remote control capabilities are made possible through JVC’s RM-LP100 Remote Camera Controller, KM-IP6000/4000 Live IP Production Suites or a variety of other options from vMix, OBS Studio and NewTek. pro.jvc.com

Video from anywhere with NDI 5 VIZRT GROUP has unveiled the next generation of the NDI software-defined IP video standard under the tag line “moves audio and video anywhere in the world, for free”. The latest version of the solution promises high-quality, low-latency video sharing with anyone else in real time, to connect to any device, in any location, anywhere in the world and working with “almost any” video application. This means physical studios can connect to

NDI Audio Direct, which provides seamless integration of NDI audio into software-based audio workflows, be they across a local network, in the cloud or hybrid, is said to set your production free from the limitations of hardware audio mixers. Reliable UDP forms part of NDI’s mission to make video easier everywhere and makes WAN and Wi-Fi connections more resilient with less configuration required.

ones in the cloud, with remote video production effectively becoming local.

New to NDI 5 as a free download within NDI tools is NDI Bridge, which forms a secure bridge between any NDI network regardless of location and opening a wealth of remote workflows for live video production. Also new to NDI Tools, NDI Remote allows anyone using a URL to contribute live audio and video from an internet-connected device, like a camera phone or a web browser, to another point remotely.

According to the manufacturer, the benefits of NDI’s optimised codec and transport protocols provide unparalleled ease of use across existing networks.

Together with the launch of NDI 5, Vizrt has also announced the next version of Live Production, which combines Viz Vectar Plus, Viz Engine, Viz Trio and Viz Mosart into a single, cloud-deployable solution. Vizrt Live Production is the first production system to fully exploit all the latest NDI 5 capabilities, including connectivity across both WAN and LAN networks, running onsite and in the cloud on the same sync, audio-over-IP integration with digital audio systems and the ability to bring in any camera with a browser as a source, from anywhere in the world.

AW-HE145 productions. It provides an “unlimited video layers” concept and has the capability to manage different scenes simultaneously and broadcast them via a variety of outputs. The GPU’s higher video processing capacity also allows full use of the multi-layered video composition and output in high resolution, including 8K video.

The Kairos Core 1000 also expands the system’s standard outputs to 20 HD or five 4K outputs. It offers 4K support and the Canvas function as standard, which allows the use of non-standard resolutions and formats.

With RTP/SRT/RTMP/RTSP streaming to eight inputs, the Kairos Core 1000’s video streaming capabilities have also increased. www.panasonic.com

www.vizrt.com

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NewTek connects solutions

OIP-D50E/D50D

AVoIP solutions from Lumens LUMENS DIGITAL Optics has introduced a new product family of AV-over-IP solutions called the OIP Series. The OIP Series promises to deliver visually lossless 4K/1080p AV signals with ultra-low latency over long distances through standard IP networks. The solutions are said to be ideal for a wide range of environments, such as sports bars, casinos, sports arenas and control rooms, and the new series includes encoders (OIP-D50E, OIP-D40E), decoders (OIP-D50D, OIP-D40D) and a controller (OIP-D50C). Compared to traditional matrix switches which are limited in their transmission distances, AV-over-IP solutions offer a more applicable solution for longdistance installations.

The OIP-D50E/D50D 4K AVoIP encoder and decoder provides up

to a 4K@30Hz 4:4:4 high-quality signal with no visible delay. With the manufacturer’s lossless compression technology, the devices are able shrink 4K video sizes without losing quality. The OIPD40E/D40D encoder and decoder limit this support to a resolution of 1080p.

With the OIP-D50C controller, users can manage all encoder and decoder devices remotely in one place, as well as via the userfriendly, browser-based GUI. By dragging and dropping the video source to a display, users can change content to suit their video presentation needs. The OIP-D50C controller can also be used to aid in the setup of videowalls.

SUPPORTING 12G-SDI and 10 Gigabit Ethernet connections, the NC2 Studio I/O Module from NewTek unites traditional SDI equipment and infrastructure with the flexibility of IP networks. The turnkey design offers up to eight channels of dynamic I/O including media file playback and recording in a 1U chassis, all underpinned by its connectivity with NDI 5.

interconnecting video signal types with a complement of audio formats, creating adaptable workflows through Dante, AES67 and ASIO/ WDM software audio drivers.

Management of each channel can be harnessed locally, through integrated NDI KVM technology or a web-based API. The module has been optimised to work with all the latest features

The new module connects multiple video and audio formats including NDI, SDI and other IP formats. It also provides a unified interface, including selectable multi-viewers and professional video scopes. This is said to offer users greater control of their signals through built-in precision colour correction. The module is ideal for

of NDI 5 to reportedly create new opportunities for producers seeking to expand their productions. The combination of the two products is said to remove the restrictions of productions bound to their physical location by offering efficient, secure and reliable workflows. www.newtek.com

www.lumens.com.tw

Roland adds to V-series line-up THE V-160HD streaming video switcher is the latest addition to Roland’s V-series portfolio of multichannel HD video switching products and the first with built-in streaming capabilities. It allows users to connect with live audiences in Full HD with HDMI and SDI I/O and simultaneously stream to any popular web platform via USB-C. The V-160HD also features an eight-layer video effects engine, a 40-channel digital audio mixer and integrated PTZ camera control, plus nextgeneration cue management and live show automation tools.

Eight HDMI sources and eight SDI sources can be mixed in Full HD, even with mismatched frame rates and colour spaces. Built-in scalers are provided on four of the HDMI inputs for interfacing with computers, tablets, smartphones and legacy 4:3 devices. And seven total outputs – three HDMI, three SDI and one USB-C – are available to feed program displays, auxiliary monitors, multiview producer

V-160HD displays, streaming software and recorders.

The V-1HD+ Remote iPad app has been launched for remotely controlling the Roland V-1HD+ HD video switcher. The app lets V-1HD+ owners control features from their own iPad touchscreen, such as switching video and mixing audio, specifying the video effect assigned to each video bus, changing audio volume levels, adjusting the degree of effects applied, triggering an external video

recorder, saving and recalling eight preset memories, adjusting the output video and making system settings.

The Jupiter-X Editor is now available for free for macOS and Windows. Developed for sonic explorers who love to craft sounds

down to the finest details, the Jupiter-X Editor provides a userfriendly graphical interface that reportedly makes it easier to harness the creative potential of these instruments. It serves as a standalone graphical editor and librarian for managing scenes and individual tones in one place. The editor comes equipped with a Scene Builder for designing complex layers and performance setups, and a Part Editor that features the parameter section available for the ZEN-Core engine and Model Expansions.

Finally, the GO:MIXER PRO-X is the latest member of the GO:MIXER family of audio mixers for smartphones and tablets.

Compared with the previous GO:MIXER PRO model, GO:MIXER PRO-X offers expanded support for Android and iOS mobile devices, a guitar/bass input pad switch and the ability to use a headset mic or the inline mic on smartphone earbuds as a sound source.

V-1HD+ Remote iPad app

www.roland.com

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Ross goes Interstellar WITH THE rise in demand for remote production, Ross has developed Interstellar, a complete remote production platform that enables content creators to blend their “traditional” working methods and onsite personnel with remote talent and contributors. Interstellar enables highquality production values and combines the convenience of a web browser interface and professional feature set with extremely low latency. A key element of Interstellar is the Interstellar Streaming Gateway, a 1U hardware solution that provides connectivity between SDI and WebRTC transports.

Once configured, the Streaming Gateway is fully controlled by the Interstellar UI. Supporting 720i, 1080i and 1080p, the Streaming Gateway can receive and decode four WebRTC streams, sending these out over SDI and then receiving and distributing one incoming SDI stream to the four contributors. The hardware can manage up to 16 audio channels per stream and supports the OPUS and H.264 codecs. Interstellar is currently available in three editions: Interstellar Express (one remote studio, five concurrent users, four streams); Interstellar Prime

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In brief, Ross’ compact UHD-over-IP SDI/HDMI converter, Newt, has been upgraded to version 4.0. It builds on the existing feature set by adding SSM, NMOS and diagnostics to help users keep their network running trouble-free.

Interstellar (two remote studios, 10 concurrent users, eight streams); and Interstellar Standard (five remote studios, 25 concurrent users, 32 streams).

Ross is also aiming to redefine camera motion systems with the launch of Vision[Ai]ry Ft, a facial tracking system that uses artificial intelligence (AI) to detect, locate and track the position of faces within the video stream directly from the camera.

It uses facial positions to drive the pan, tilt and zoom axes of the robotic camera system to maintain the desired

framing of the face or faces in the image. This eliminates the need for a camera operator to manually adjust for the position of the subject in the image. The AI algorithm can recognise a diverse set of race, gender and age data, and can accurately identify and locate faces as long as at least 50% is visible in the image. The user interface provides a live display of the video feed with detected faces and framing target clearly indicated, along with status info, tracking controls and framing template library.

Vision[Ai]ry Ft ST 2110 networks can now also benefit from the new support for Precision Time Protocol (PTP) on Ross’ SRG-4500 master sync generator. The new PTP software upgrade option brings drop-down configuration support for ST2110 and AES67 profiles to build an IP or hybrid SDI network. www.rossvideo.com

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Captiva DWU500S

Christie shines on DESIGNED FOR small and mid-sized applications to provide 20,000 hours of operation, Christie has developed the Captiva DWU500S 1DLP ultra short-throw laser projector. As the third generation of the Captiva Series, improvements include a 50% increase in maximum screen size, a significant increase in brightness and upgraded WUXGA resolution.

The Captiva DWU500S provides 4,500 ANSI lumens and can display 1920x1200 resolution images up to 3.8m diagonal in landscape or portrait orientations. With its 0:25:1 ultrashort-throw lens making it suited to installations where space is limited, the four-corner geometry can be adjusted to present precise images. Available in black or white, the new wall mount promotes a more horizontal and vertical offset.

Available in a range of five pixel pitches (0.9mm, 1.2mm, 1.5mm, 1.8mm and 2.5mm), the Core Series II LED videowall tiles offer ease of installation for videowalls of any scale. Weighing 6.5kg each, the new tiles are

Core Series II

23% lighter than the original Core Series tiles. Featuring a slimmer 38mm depth form factor together with an ADA-compliant, directmounting structure and concealed cabling, Core Series II videowalls are designed to be easier to install and completely front serviceable.

Core Series II produces vivid, clear and detailed images that are 33% brighter than its predecessor, at 800 nits calibrated brightness. When paired with Christie’s optional E600 HDR10-compatible controller with image processing, the Core Series II delivers content in 4K@60Hz with low brightness enhancements.

The Ultra Series of LCD displays for tiled videowalls has been extended with the creation of the 55-inch FHD554-X. The new model combines a 3.5mm bezel width with an ultra-thin profile. The electronic feature set includes high bandwidth together with HDCP 2.2-compliant HDMI 2.0 and Display Port 1.2 inputs that support streaming of 4K content and 4K UHD signals at 60Hz to deliver content to videowalls. Display Port 1.2 outputs promote the daisy-chaining of 4K@60Hz sources creating large videowalls up to 25 panels in size. An OPS slot further simplifies setup by allowing sources like PCs and media

players to be directly integrated into the display.

Available in 6,000, 7,200 and 8,100 ANSI lumen brightness options in WUXGA resolution, the Inspire Series is a family of fixed zoom lens 1DLP laser projectors.

Incorporating laser illumination, the three projectors offer up to 20,000 hours of low-maintenance operation to 50% brightness. Room meeting flexibility is enhanced with AMX and Crestron connectivity. With the built-

in proprietary Christie Twist image warping and blending software, up to six projectors can be arrayed with up to 81 grid control points. The Inspire Series is also compatible with the Christie Mystique Lite automated camera-based alignment software for up to three Christie projectors.

In brief, Christie has announced the release of Version 2.5 of Christie Mystique, introducing Mystique Essentials and Pro Venue Editions as two new features to improve overall image fidelity and uniformity in blended projector arrays when projecting on a flat or curved surface. www.christiedigital.com

feature on the Android tablet.

The Android tablet’s network is through Wi-Fi and the UC9040’s is through Ethernet.

ATEN is also collaborating with Olympus Corporation to increase the videoscope functionality of products from both parties.

Combining the VE8950 4K HDMIover-IP extender with the IPLEX GAir videoscope allows the latter to be remotely operated and transmit video up to 4K with little delay or degradation up to 100m.

The VE8950 provides long-range over-IP video transmission to send images from the industrial videoscope to remote operators.

UC9040

www.aten.com

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To the power of ATEN ATEN HAS added new features to its UC9040 StreamLIVE PRO all-in-one, multichannel AV mixer which users can take anywhere without the need for carrying a monitor and a computer. Before the upgrade, the mixer could be controlled either via the hardware console interface or an iPad loaded with an OnAir Pro App. Now, the firmware update supports Android tablets as well as iPads for controlling, preview monitoring, realtime editing and arranging elements into a program mixing.

Streaming applications can be expanded for remote UC9040 operation by using the new “Onthe-go livestreaming control”

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Absen launches new LED display series

Astera builds portfolio with Bricks

DISPLAY MANUFACTURER Absen has unveiled its latest LED series in the form of the Jade Dragon (JD) series. The JD Series is a transparent display solution created to be used in windows or to divide spaces. The panels boast up to

FOLLOWING IN the footsteps of the AX5 TriplePAR LED, Astera has added an all-purpose, larger-format, three-in-one LED lighting fixture in the form of the AX9.

Offering a wireless PAR light source that can also be run as a wired PAR for longer-term installations and an elegant uplighter, the fixture’s 105W output offers over 3,000 lumens of homogenised light.

Incorporating a similar engine to the Titan LED, the new model comes with an optimised bracket with Airline Track and a Titan-style keypad for local control. Offering battery operation and direct wireless control via the AsteraApp, the AX9 can be used on-set, onstage, in the studio or on location. In situ as

7,000 nits brightness and up to 86% transparency, while weighing 6.5kg and with a thickness of 10mm.

The standard size of the panels in the series is 1,000mm x 500mm, but the three models in the series offer alternative sizing and design

customisation to meet more creative demands. The models differ in pixel pitch and transparency and can be frame-less if required. The JD10 and the JD16 are capable of over 80% transparency and can be fully customised in shape, down to the

LED strip. In addition, customers can choose to install the transparent PC cover for the JD3.9 model, which further protects the panel and prevents dust buildup. www.absen-europe.com

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DTS Lighting launches Alchemy 7 TWO YEARS after launching the Alchemy 5, DTS Lighting is expanding its range of Fresnel wash moving heads.

The Alchemy 7 features a 250mm Fresnel lens and a sixcolour chip LED source that allows users to recreate a wide range of shades, especially when it comes to pastel tones. Its tungsten emulation function will allow the LED projector to generate the same effect of halogen lamps on the dimming curve.

Features include a two-blade framing system with a 180° full system rotation and a 22,000-lumen output.

According to the manufacturer, this output is nearly constant throughout its linear CCT that goes from 1,800–10,000K, with CRI and TLCI values up to 98 and 96. It comes with a vast array of gel filters and users can benefit from desaturation or gel mixing, even when changing colour temperature or when calibrating the green tint. www.dts-lighting.it

PixelBrick a wired PAR, the AX9 can operate for sustained periods of time.

The compact, multipurpose fixture can also be deployed as a wall or surface washing uplighter without a flex cover and with the bracket removed to produce a streamlined effect. The LED engine comes with a high CRI, a wide range of tuneable colour temperature whites and diverse colours. An internal battery provides up to 20 hours of programmable operation to maintain optimal output over a designated period.

Designed for use in live events, the PixelBrick is a flexible luminaire. The 1.1kg, compact uplighter combines a Titan LED engine with the AX3

AX9 PowerPAR LightDrop in new, fully adaptable housing. The IP65-rated model can be suspended outdoors as a universal light for accenting and texturing buildings or façades.

Offering 450 lumens and 1,200 Lux at 2m – both at 3,200K – the PixelBrick can also be deployed as a general-purpose PAR fixture complete with a bracket.

When fixed together, an array of geometric shapes and clusters can be created. The lights can also be arranged in matrix patterns or as numbers and letters in addition to being pixel-mapped to produce yet additional effects.

PixelBricks can be physically interconnected via a bespoke engineered track system on all four sides, which can also be used to mount airline track accessories, including TrackPin, Hangar and Handle. The brackets can be mounted to the PixelBrick using the same track system.

In addition to an onboard battery pack offering five hours of fullbrightness operation, features include an RGB Mint Amber for creating colours and authentic white tones from 1,750–20,000K and a CRI of 96 or above. Several different beam options are available, while the fixture’s native 13° angle can be customised with the use of a 17° diffuser for a soft-light effect or a 30° flood filter. www.astera-led.com

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Pixel Tape series gets IP65-rated additions LED TAPE has become increasingly popular as a solution for novel stage illumination in worship applications, and Elation Professional has added two new

outdoor-rated variants to its Pixel Tape line-up.

The Pixel Tape 16IP and Pixel Tape 40IP are flexible LED tapes featuring RGB SMD tri-colour LED pixels capable

Pixel Tape 16IP

of producing over 1 billion colours.

The strips both spread light at a 120° viewing angle and are surface coated with an IP65-rated conformal coating for safe use in any type of weather.

Each is constructed using a rugged UV-protected silicone casing, creating a low-profile and flexible design with a bright yet low heat output. Both the Pixel Tape 16IP and Pixel Tape 40IP use industry standard four-pin XLR connectors for power/control input and are ideal low-maintenance, lowenergy solutions to integrate into stage scenic elements, accentuate outdoor architecture or customise lighting on any event.

The Pixel Tape 16IP features the same pixel spacing as Elation’s Pixel Bar series. It comes in a 2.7m x 14.5mm (LxW) LED pixel tape with 170 RGB SMD tri-colour LED

pixels spaced on 16mm centres. The tape can be cut and extended every 25mm. It emits 455 lumens of light with a low max power consumption of 35W and is ETL approved.

The Pixel Tape 40IP is a 6.8m x 14.5mm (LxW) LED pixel tape featuring 170 RGB SMD tri-colour LED pixels spaced on 40mm centres. The tape can be cut and extended every 62mm.

The Pixel Tape 40IP emits 475 lumens of light with a max power consumption of 35W and is also ETL approved.

Pixel Tape 16IP and Pixel Tape 40IP use a total of 510 DMX channels per spool and can be powered and controlled using the manufacturer’s new Pixel Driver 170, Pixel Driver 1000IP or Pixel Driver 4000 V2 control drivers.

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Equipson upgrades LightShark LIGHTING TECHNICIANS can now create and synchronise effects on multiple parameters and apply different types of curves during each step of the effect, thanks to an update to LightShark’s FX engine. It is also now possible to position fixtures on a grid so that the engine can easily find them and apply effects at the right point in relation to these fixtures. The upgrade required a major re-working of the product’s original renderer.

Once completed, this allowed the engine to operate in two very different modes – basic, where effects and shapes are created around a base value, and advanced, where users can define minimum and maximum

values and create effects with up to six different steps. They can also stack up to 20 layers of effects and synchronise different layers with each other.

Other benefits include the ability to choose up to 24 directions when applying an effect, the ability to create parts and blocks of fixtures within the effects themselves and the ability to adjust the number of repetitions of each effect. Users can also apply different types of curves to each of the steps, as well as to modify the parameters of the curves.

Colour tags can also be associated with a particular group to make it

easier to locate. In addition, users can change the behaviour of the CLEAR button (single or double), adjust the speed of the effects with

TAP to time and set a physical fader as a master of speed or effect size. www.equipson.es

Cuete by name, cute by nature CUETE IS the latest moving head spotlight fixture from Robe designed for small and medium productions. Features include fast pan and tilt movement and quick and simple dynamic effects.

The fixture reportedly offers an excellent CMY colour mixing system and a 4,200-lumen output of sharp, crystal clear white light.

To achieve this output and to maintain the light quality and consistency across any lighting rig or inventory, Cuete uses Robe’s patented TE 120W White LED Engine which is at the core of

the manufacturer’s Transferable Engine technology. The 16° fixed beam lens has remote control focus and can be swapped to the optional 24° lenses for shorter throw and low-ceiling scenarios.

The Cuete incorporates a CPulse flicker-free management system for setups using HD and UHD cameras; the L3 Low Light Linearity dimming software for smooth fades to black; and AirLOC (Less Optical Cleaning) technology which reportedly

keeps the optical elements in good condition over long time periods.

The fixture’s effects package includes a colour wheel with 13 dichroic filters; a gobo wheel with nine fully indexable, rotating, replaceable gobos; a static gobo wheel with 10 fixed gobos including four beam reducers; an eight-facet bidirectional rotating prism; and a 5° frost filter to assist with producing smooth, even washes. www.robe.cz

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PRODUCTS

The Lonestar shines bright

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ADJ gains more Focus THE FOCUS Wash 400 has been added to ADJ’s Focus Series of LEDpowered moving head luminaires.

The dedicated wash fixture combines a potent colour-mixing LED light engine with a Fresnel lens and motorised zoom mechanism to create a versatile, soft-edged beam with an even field and high CRI. Providing colour mixing for stage-based applications, a 400W six-in-one LED light source combines red, green, blue, amber, cyan and lime LED chips. With a 50,000-hour average life expectancy, the LED engine configuration allows for a CRI of more than 90, together with white light output across a range of colour temperatures. The light source also offers a high CRI R9 rating of 87.3, making it capable of effectively illuminating problematic saturated red subjects.

Independent colour-mixing control over the LED source’s six primary colours creates a wide spectrum of saturates and pastel shades. To aid quick programming, Virtual Colour Wheel control provides easy access to 60 pre-programmed colour macros in addition to five preset white colour temperature macros. Using the six LED chips to emulate CMY colour mixing, the fixture includes a virtual CMY mode for patching and controlling as a CMY fixture.

IN LONESTAR, High End Systems has released a bright white LED framing fixture that exceeds 15,400 lumens of output in small- and medium-sized venues. Features include a CMY colour mixing system, 3.8–55° zoom, full curtain framing, diffusion and prism effects together with a 13-lens optic system and electronic linear CCT mixing control. Housed within the compact automatic fixture, Lonestar combines a 290W Ultra-Bright engine, 16-blade iris for extremely tight beam effects and dual prisms for compound beam and projection effects. A nine position plus open Rotating Gobo Wheel in addition to a linearly insertable rotating animation wheel and an open colour wheel are included. www.etcconnect.com

Fitted with a 6-inch Fresnel lens, the Wash 400 can produce a soft-edged wash output with an even field and no colour shadows.

This is paired with a motorised zoom function with a variable beam angle of 10–41°, featuring 16-bit fine control over the zoom motor for smooth effects. The wide zoom range can be used to wash a large area of a stage and to spotlight performers or small scenic elements.

Electronic dimming is combined with selectable dimming modes, curves and speeds that can be set

remotely via DMX. Fitted with pan and tilt motors, the Wash 400 can achieve quick movement in addition to precise static positioning and smooth movements at slow speed with 16-bit fine control. The fixture also features electronic strobing for the creation of regular, random and pulse effects at various speeds.

Located on the rear panel of the unit’s base, locking power input and output connectors can link the power supplies for multiple units.

Compatible with the Remote Device Management (RDM) protocol, the fixture offers both five-pin and threepin DMX input and output sockets together with a choice of five DMX channel modes. An intuitive menu interface can be found on the front of the fixture’s base with six push buttons for navigating on a large backlit LCD display screen. A USB socket has been integrated for future firmware updates.

Weighing 10.7kg and externally measuring 278mm x 213.5mm x 497mm (LxWxH), the compact unit is fitted with large rubber feet allowing it to stand directly on a stage or riser. A pair of Omega brackets can be attached to the base using quick-locking, quarterturn mechanisms. www.adj.com

A fusion of light

,

FUSION BY GLP has introduced a contemporary LED stick in a weatherproof (IP65) design. The Fusion Stick FS16 Z can not only be connected to produce seamless lines but, thanks to its halo diffuser rings, it can be placed in front of the individual light sources to develop a new optical effect. It is also based on the Fusion Stick FS20 with identical dimensions so that all FS20 accessories are also compatible with the FS16 Z. The Fusion Stick FS16 Z is populated with 16 20W RGBW LEDs and the motorised zoom ranges from 8–40°. The 1m-long sticks are only 23.6cm high, 9cm deep and, despite the weatherproof design in the die-cast aluminium

housing, weigh only 13kg. The halo diffuser ring is said to ensure the FS16 Z will create “a real impact in every application”.

According to the manufacturer, thanks to the ring surrounding the front lens, the visibility of the pixels in the camera has been significantly

improved. The pixels are clearly visible even from very acute camera angles, whereas the lens is

retracted far back into the housing in a conventional design, due to the zoom mechanism. The fanless design provides extremely quiet operation, which also makes the new LED stick ideal for noise-sensitive environments.

Various installation options ensure even greater flexibility and creative experimentation. The individual FS16 Z LED sticks can be connected

to one another without difficulty, so that both vertically hanging and ground-standing installations can be implemented with minimal rigging effort. Two different dimmer curves and four control modes up to a maximum of 79 DMX channels are available. The built-in FX engine is said to make it easy to create impressive, dynamic looks. www.glp.de

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THE TECH VIEW

Invested in the future Eugene Mulcahy from Vox Church looks back on a decade of growth and the opening of its new Branford campus Eugene Mulcahy, Vox Church

VOX CHURCH HAS EXPANDED rapidly in a short amount of time.

Its modern and current worship approach is helping to attract younger worshippers who expect a high-quality audio and video experience. The HOW is always striving to provide a meaningful, fulfilling and memorable experience for its congregation. Now in its 10th year, the Vox community is made up of multiple campuses scattered across Connecticut and Massachusetts, with a brandnew central location in Branford, Connecticut, currently being built.

Each location has its own audio, video and lighting packages along with their own teams. In addition to weekly services, the HOW also offers children and youth services at each location. Mulcahy is part of the New Haven, Connecticut, team, which currently handles all the broadcasting, and will soon move to the Branford location.

“I am mixing FOH, IEM, wedges and L-R for web and multitrack recording, along with providing multiple audio channels to video for their recordings,” he explains. “My main job is to make sure that senior pastor Justin Kendrick is heard clearly and that what is heard live also transfers to our web audience. He prefers a handheld mic to a headset, and I finally got my hands on the DPA 2028

Vocal Microphone to try on him. I’ll never go back to anything else for dialogue mic’ing.”

To create the modern worship experience that Vox Church is known for, the HOW is heavily invested in AV technology. “On the audio side, we have a DiGiCo S21 for mixing.

For microphones, we’re using all the leading brands, including, most recently, the DPA 2028. Since we’re in the process of building our Branford location, we’re planning to

integrate all our existing equipment with any new gear that we select.

We’re working with a company out of Kentucky called House Wright, who are installing everything, and we’ve already put in requests for some more DPA mics – specifically shotguns – for a room mix.”

The new anchor location in Branford will have a Dante infrastructure for all audio networking for the main sanctuary, back of house and for broadcast. “We also use Danley speakers at our North Haven and Middletown locations, along with DiGiCo consoles,” adds Mulcahy.

“We use DiGiCo consoles, which we own, for our permanent locations, and then the venues where we load-in and load-out have all been Avid. I’ve been an Avid user forever, but we’ve standardised DiGiCo as our platform for consoles.”

Yet Vox Church isn’t just expanding in the physical sense. The HOW broadcasts its services on its website every Sunday from the New Haven location to all other campuses. Every sermon is posted to YouTube, and the church also has a virtual online campus, with its own pastor, for members around the world. “When

the Covid-19 situation began, we were able to convert one of our permanent locations into a soundstage and conducted church virtually,” describes Mulcahy. “We would record two services or multiple services on Thursdays and livestream them on Sundays, with replays during the week. Up until that point, we had never broadcast to the world, just to our campuses, but it became evident that we needed to do that, so we learned a lot quickly.

“We already had a lot of the infrastructure in place from our internal broadcasts, so it was just a matter of turning it on and figuring out what we needed to improve and how,” Mulcahy continues. “We also have the pleasure of having Miss Alexis, our video lead, on the team. We call her the diva of all video – she came to us from ESPN. We learn something new every time we go live, but it has been so successful that it led to the creation of our virtual campus. That said, we are trying to get more of our congregants back into the churches because we’re a very communal church and we enjoy having everyone together.” voxchurch.org

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