Worship AVL September-October 2019

AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST

September–October 2019

UMC’S SPECIAL SESSION Providing a broadcast backup

GET STARTED IN ENVIRONMENTAL PROJECTION Singapore: MICA (P) 068/06/2019 PPS 1644/05/2013(022954)

RECORDING VOCALS 101 AUTOMATED LIGHTING SOLUTIONS

CONTENTS

Issue 60

September–October 2019

NEWS HIGHLIGHTING DOMES Martin Professional lights up Grand Mosque

4

DRIVING GROWTH Immanuel Nashville reinforced by Danley

4

HILLSONG GEARS UP Huge Adamson rig shipped in for Sydney Conference

6

DIGITAL DESTINATION Alabama church installs dLive setup

6

DISCREET AND SIMPLE Yamaha VXL system installed at listed church

8

A NEW LOCATION Rivers Church in South Africa upgrades its lighting

10

A SUITABLE SOLUTION Renkus-Heinz steers the way for St Louis Bertrand

11

SPREADING THE MESSAGE Kara speakers deliver audio to every seat

12

PULSE UPGRADES MAIZOON MOSQUE Aimline beam-steering in Oman

14

BETHEL MEDIA SEEKS FLEXIBILITY Facilis facilitates easy collaboration

14

TEMPLE OF LEONG HUA SEE Buddhist temple renovates with DAS Audio

16

BROADCASTING IN BETTER QUALITY WestGate Church spreads its message

18

FLEXIBILITY FOR SAINTS Audac supports a cathedral’s diverse needs

19

CATHEDRAL OF THE HOLY CROSS Boston cathedral powers up new system

20

ADDED ENGAGEMENT Chauvet lighting installed at Windsor Park

22

SPECIAL REPORT: Wooridle Church undergoes further upgrades

24

PROJECTS ST ANDREW’S CATHEDRAL Upgrades at Singapore’s largest church

26

CHRIST THE KING VINEYARD Jennifer Breeze Timmerman equips a triangular sanctuary

28

AMAZING GRACE PRESBYTERIAN Singaporean church receives new AVL setup 30 COVER: UMC Delivering a broadcast backup for a Special Session

LEADER The sense of community that a house of worship provides is one of its greatest gifts. It’s something that we’re doing our best to try and replicate in Worship AVL and this issue does well to highlight our efforts, with articles written by more contributors than ever before. We’re extremely grateful to all of them and hope you enjoy what each has to say. Jennifer Breeze Timmerman, a former worship leader and owner of Breeze Stage and Studio, recalls her work at a rather unique, triangular sanctuary in her own words on p.28. Meanwhile, if you’re intrigued by the idea of environmental projection and want to learn more, TripleWide Media’s Tim Southwick has you covered on p.38.

Ralph Singer from TOA Electronics and LDA Audio Tech’s Juan Manuel Díaz and Pedro Martos discuss public address and voice evacuation systems on p.44, and, on p.68, Colin Boyle from Canon, who was previously the production manager at Kerith Community Church, offers his views on implementing AVL technologies in houses of worship.

And let’s not forget our regular contributors: Gordon Moore, John Black and Frank Wells, whose KnowHOW and maintenance articles can be found on pp.36, 40 and 42, respectively. In fact, Gordon was recently honoured by AVIXA with the Fred Dixon Service in Education Award for his outstanding contributions to education in the AV industry during the InfoComm show in Orlando. I think we can all agree from having read Gordon’s contributions to this magazine that it was a well-deserved award. Congratulations!

34

KNOWHOW RECORDING VOCALS 101 Gordon Moore explains where to begin

36

ENVIRONMENTAL PROJECTION TripleWide Media’s Tim Southwick gives the lowdown 38 FACIAL LIGHTING TECHNIQUES John Black explores studio photography

40

MAINTENANCE Frank Wells takes a look at lighting rigging

42

James Cooke Editor

Telephone: +44 (0)1892 676280

Email: jcooke@worshipavl.com MEET THE TEAM

TECHNOLOGY PUBLIC ADDRESS AND VOICE ALARMS LDA and TOA answer our questions

44

TROUBLESHOOTING BASICS Ashly Audio’s Jim Schwenzer tackles a variety of issues

46

AUTOMATED LIGHTING Ledetta Asfa-Wossen covers the basics

48

BUYING GUIDE Exploring lighting consoles and special effects

50

PRODUCTS Equipment launches and updates

54

THE TECH VIEW Canon’s Colin Boyle on HOW productions

68

IN THIS ISSUE

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@WorshipAVLMagazine September–October 2019 WORSHIP AVL 3

NEWS

Highlighting the domes at Sheikh Zayed Grand Mosque

UAE: Martin Professional Middle East (MPME) has installed an exterior lighting solution comprising 2,556 Martin Professional Exterior PixLine 10 fixtures to light up the glass domes of the new visitor’s centre at Abu Dhabi’s Sheikh Zayed Grand Mosque.

Sheikh Zayed Grand Mosque is the largest mosque in the Middle East, and the third largest in the world, accommodating up to 40,000 people.

The mosque recently opened its new three-storey visitor’s centre, which is bookended by a pair of glass dome entrances. Abu Dhabi officials hired MPME to install an exterior lighting solution that would highlight the visitor’s centre and glass domes and cover the domes’ curved surfaces.

‘Installing a high number of fixtures on a curved surface is a complex process,’ explained Bilal Assidi, MPME

sales manager. ‘We selected the Exterior PixLine fixtures because Martin could supply them in customised lengths, which reduced installation time and cost, and also allowed us to perfectly integrate the fixtures into the structure of the domes.’

The Exterior PixLine 10 can also be customised in terms of colour, as well as length. It is a linear LED video fixture often used for media façades

and creative installations. In addition to lighting up the domes at the Sheikh Zayed Grand Mosque Centre, the fixtures are used to display video content to support religious holidays, cultural events and other special occasions.

Martin fixtures have been lighting up the mosque itself since 2009.

Being an official service partner of the Grand Mosque since then, MPME is

responsible for making sure that every lighting installation works properly at all times. The MPME team employed four Martin P3 system controllers to synchronise the fixtures and continues to use the P3 system to remotely monitor the new media façade and respond quickly in case of errors or fallouts.

‘Mapping out video content across such a high number of fixtures on a curved surface is a demanding task which requires a reliable and userfriendly video processor,’ said Assidi.

‘The P3 system made it simple to set up the PixLine fixtures, and ensures that the installation will look as good as it does now for many years to come without having staff onsite.’ www.martin.com www.martinpro-me.com www.szgmc.gov.ae

Driving growth at Immanuel Nashville USA: Immanuel Nashville recently moved to a larger, 1,000-seat sanctuary due to continuous growth since it was established 10 years ago. Based in the music city, the church holds traditional services, as well as staging a full band, blending traditional hymns with more contemporary music.

After making do with a temporary system when it first moved into its new premises, Immanuel Nashville hired local AV systems integrator Essential Audio to design and install a new permanent sound reinforcement system. Due to the sanctuary’s wide, fan-shaped seating area, Essential Audio chose Danley Sound Labs solutions with

their point source loudspeaker pattern control, which provides for three separate zones of left and right stereo imagery, while also functioning as an exploded mono system for speech applications.

Danley subwoofers and multichannel amplifiers were also installed.

The system Essential Audio installed comprises eight Danley SH69 loudspeakers configured into three clusters and a pair of out-fills, flown across the front of the stage.

Six of the loudspeakers form three stereo systems for musical content and two serve as a centre channel for the spoken word. Two Danley TH118 subwoofers hang from the middle of the room for low-end

4 WORSHIP AVL September–October 2019

processing for the hybrid ‘zoned stereo’ for music and ‘exploded mono’ imaging for speech. The Solus outputs Dante to the Danley 10k4 Pro amplifiers.

‘I was able to put the transitions in the aisles, and there are no phase issues between adjacent boxes,’ explained Ben Williams, owner of Essential Audio. ‘In addition, the church gets way better feedback control onstage and minimises the diffuse energy throughout the room, but especially at the back.’ support, while three 10k4 Pro amplifiers provide 12 channels of power for the system. A Symetrix Prism DSP handles all routing and

www.danleysoundlabs.com www.essentialaudioinc.com www.immanuelnashville.com

Talkback Communicate with camera operators and production staff.

USB Connection For updating switcher software and settings.

Program Mix Listen to the program audio mix.

Source Select Buttons Input buttons for PGM/PVW or cut-bus style switching.

Reference In Supports black burst or tri-sync reference for use with large broadcast systems.

Source and Control Downstream keyer, media players, fade to black and transition selection.

Source Inputs Connect up to 40 x 12G-SDI inputs for HD and Ultra HD or 10 Quad Link 12G-SDI inputs for 8K.

Spin Knob Control Scroll through on screen menus or adjust audio levels.

Independent Assignable Outputs 24 x 12G-SDI outputs for HD and Ultra HD or 6 x Quad Link 12G-SDI outputs for 8K.

Lock Button Locks front panel settings to protect against changes during production.

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NEWS

Hillsong gears up for Sydney Conference AUSTRALIA: Hillsong Church geared up for its annual Sydney Conference in Qudos Bank Arena in July by engaging with Adamson’s Australian distributor, CMI Audio, to import a large amount of E12 concert line array systems and amplifiers. The event was staged in-the-round and required more E12 systems than were available in Australia.

The megachurch relies on Adamson loudspeakers at many of its campuses, including Baulkham Hills, which is home to E12 line arrays, and employed some of the Canadian manufacturer’s solutions for last year’s Hillsong and Colour Conferences in Sydney.

‘The vocal clarity of Adamson systems is ridiculously good,’ said Justin Arthur, systems engineer for Hillsong Conference. ‘The result we got at the conference in 2018 with Adamson was excellent. We were very pleased with the coverage, and the system performed exactly as it was predicted to. The clarity of both speech and music was much better than we have experienced previously.’

Ar thur has designed the audio setups for the Hillsong Conference for six years and has developed a good understanding of the Qudos Bank Arena’s acoustics. The new challenge it faced this year was to ensure 360° coverage as the stage was located in the middle of the venue.

‘We worked towards a completely symmetrical system with eight hangs of 16 elements of E Series, with a round LED screen hung below the arrays. We used six hangs of eight Adamson S10 elements under that to fill the floor area, with S10n for side-fill. The subwoofer clusters were four hangs of nine E119s, run as front-back-front cardioid,

hung as central as I could get them before their coverage overlapped.

Other Adamson loudspeaker models were used for front-fills and delays as necessary. We used up to 240 Adamson speaker elements in total.’

Hillsong relies on Adamson for its midrange clarity and depth. ‘The spoken word is the most impor tant element at the conference, and Adamson PA has proven it delivers the word better than systems we’ve used previously,’ Ar thur explained. ‘Adamson has what the mix engineers really need: midrange clarity and added depth.

A lot of the musical arrangements are really complex – there’s electric and acoustic guitars, tracks, synths, keys, and then eight or 12 vocals over the top.

What we’ve found is that the amount of complexity can get messy in some PAs, but Adamson brings it together much better than the others.’ www.adamsonsystems.com www.cmi.com.au/home-audio www.hillsong.com

Digital Destination

Destination Church’s dLive S5000 USA: Destination Church in Mobile, Alabama recently expanded, adding a new 1,250-seat sanctuary to its campus in a bid to keep up with an ever-growing congregation. Michael Evans of Alpha Sound & Lighting has done a lot of work with the church over the years and returned

to implement the AV elements in the new sanctuary, including an Allen & Heath dLive S5000 digital mixing system for audio.

The church is no stranger to Allen & Heath, having purchased a GLD-80 console in 2016. The new dLive system offers additional production

6 WORSHIP AVL September–October 2019

capabilities for the praise band, led by worship pastor Kyle Wilson.

‘In addition to obtaining high-quality, concert-level sound in the house, Kyle wanted to bring in a number of wireless in-ear monitors for his band,’ said Evans. ‘Plus, he wanted to be able to let them create their

own personal monitor mixes. He had ambitious goals, and is tech-savvy, but was unsure of the next step.

After I suggested using Allen & Heath’s dLive S5000 out front and ME personal mixing systems and explained how they would work, I saw the light go on in his eyes. He was like a mule looking at a new gate – perplexed for a moment, but then bam! He knew he had found the way.’

The system can manage up to 56 lines from distributed floor pockets onstage. The dLive DM64 MixRack supplies 64 mic/line inputs and 32 line outputs, gathering microphone and instrument signals before they are sent to the dLive S5000 control surface via a Cat-5 cable.

‘The musicians also love the ME system,’ added Evans. ‘Now, each can tailor their monitor mix to whatever works for them. As for the house, the sound couldn’t be sweeter. Everyone is happy and, at the end of the day, that’s what counts most.’ www.allen-heath.com www.aslgc.com www.destinationchurch.tv

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NEWS

Discreet and simple sound for St John The Evangelist UK: Flipside Soundsystem has installed Yamaha VXL line array loudspeakers in the 160-year-old St John The Evangelist church in Walworth, South East London. The church is a Grade II listed building that has faced the kinds of acoustic challenges typical of a sanctuary of its time thanks to high, vaulted timber ceilings and cast-iron columns.

‘The existing sound system was about 20 years old, only partly operational, and the sound it did produce was tinny and artificial,’ explained Simon Askey, the church’s assistant priest. ‘We wanted a system that would amplify speech authentically, rather than sound like a PA system, and that could be used by those who wanted to use either fixed or wireless microphones.’

James Cooper, managing director of Flipside, was careful not to impede upon the church’s aesthetics.

‘Church systems need to be a number of things,’ he said. ‘They need to be visually as inconspicuous as possible, but deliver high speech intelligibility, while coping with often very lively acoustic spaces. Controlwise, they need to be extremely easy to use, but also resilient to curious “knob-twiddlers”. At St John’s, the system would be primarily used for worship, meaning spoken word with perhaps a small amount of choral music played back from time to time.

Occasionally, the church is used for outside groups and weddings, where more music playback is needed.

So we were requested to design a system primarily for church use, but also to cater for music applications,

St John The Evangelist with perhaps the odd instrument being plugged in.’

Cooper kept the design simple, employing two Yamaha VXL1-24 line array speakers and a pair of VXS10 subwoofers, hanging them one-per-side of the chancel arch.

A Yamaha MTX3 matrix processor receives inputs from four fixed and two wireless microphones. The feeds are managed by the MTX3’s built-in Dan Dugan automixing functionality, designed to eliminate potential feedback issues. A DCP4V4S wall-mounted controller has also been installed, providing on/off and volume control over the microphones, a CD player and a pair of RCA system inputs. A new induction loop system has been set up at St John The Evangelist, which is fed by a separate matrix send from the MTX3.

‘We wanted to use as few speakers as possible, carefully selecting

those with a dispersion pattern that allowed us to target sound directly at the pews and nowhere else,’ said Cooper. ‘The Yamaha VXL range is brilliant for this sort of application and meant that we could achieve very similar decibel levels at the front and rear rows of pews, which are 17m apart.’

‘The system works well, with the voice amplification sounding more like human voices in a theatre than a PA system in a church,’ added Askey. ‘It has made our worship more inclusive, because everyone can hear and what you hear is the natural intonation of a human voice, which was lost on the old system. I also particularly liked the fact that they went to great lengths to make the system “disappear” in the building.’ www.flipside-soundsystem.co.uk www.yamahaproaudio.com

Iconic Parroquia de San Jacinto goes Ionic SPAIN: Parroquia de San Jacinto (The Parish of San Jacinto) is a Dominican convent established in the 17th century in Seville’s Triana district on the corner of Calle San Jacinto and Pagés del Corro. As with many churches of its period, reverberation can cause intelligibility issues during services. Therefore, Parroquia de San Jacinto was recently equipped with a new sound system from Spanish manufacturer Lynx Pro Audio, installed by Audiovisuales Morato.

The new setup includes four Lynx Pro Audio Ionic 100 column speakers with

8 WORSHIP AVL September–October 2019

a white finish to blend in with the décor.

Additional reinforcement is provided throughout the length of the sanctuary by 12 of the manufacturer’s smaller Ionic 5CX speakers, also in white.

Ionic Series speakers have been designed by Lynx Pro Audio to be easy to use. A range of accessories is available to simplify installation. It was this, coupled with the discreet speaker design and sound quality, that attracted Parroquia de San Jacinto to the Ionic range. www.audiovisualesmorato.com www.lynxproaudio.com

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TECHNOLOGY KnowHOW NEWSHOW Know

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NEWS

A suitable solution for St Louis Bertrand USA: St Louis Bertrand Catholic Church was established in Louisville, Kentucky when the Dominicans arrived after the American Civil War. Approximately a decade later, an English Gothic sanctuary was built and today it attracts more than 2,000 congregants for services on major holidays. Several unsuccessful attempts have been made at installing a suitable sound system

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At the back of the room, a pair of IIC8-RN steerable loudspeakers are mounted on columns to provide rear-fill, with delayed signals. Knight also repurposed existing speakers to keep upgrade costs as low as possible, such as in the cry room and other spaces around the sanctuary, although the four Renkus-Heinz arrays handle all sound reinforcement in the sanctuary.

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20,000 FIELD LUMEN OUTPUT. VARIABLE ANIMATION EFFECTS. inside the sanctuary over the years, but David Knight of Knight Audio found the solution in the form of Renkus-Heinz’s Iconyx steerable loudspeakers.

‘We’re very familiar with RenkusHeinz loudspeakers and had done a very similar room before, so I’d seen Iconyx loudspeakers work in that situation,’ explained Knight.

The church has long reverberation times to complement choirs and pipe organs, but make the spoken word sometimes difficult to understand. It has a ceiling that reaches a peak height of more than 15m and is 34m long.

As well as the hard, reflective surfaces common in Gothic architecture, columns line the interior and a choir loft with a pipe organ presents further acoustical complications.

Knight installed a pair of Iconyx Gen5 IC24-RN digitally steered line array loudspeakers on the left and right at the front of the sanctuary.

‘The columns don’t line up exactly on both sides,’ Knight noted. ‘But even when you’re standing behind a column, you’re getting enough coverage from the speaker on the other side of the room that you don’t notice you’re behind a column. The staff at St Louis Bertrand suddenly were hearing the system so well that they thought it was too loud.

I said: “The reason we put this system in was because people couldn’t hear well enough to understand what was being said.

If you can hear it now, then that means other people can hear it, too”.’

The priests use existing wired mics, which feed into a Biamp TesiraForté processor, the outputs of which drive the loudspeakers throughout the building.

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September–October 2019 WORSHIP AVL 11

NEWS

Spreading the message to every seat in the house

USA: Moving its growing congregation to a new home in New Orleans, Franklin Avenue Baptist Church (FABC) decided to outfit the new space with a sound reinforcement solution from L-Acoustics. The new US$35 million, 12,000m2 sanctuary required a solution capable of covering the 3,500-seat venue in its entirety.

Nashville-based AV systems integrator Mankin Media Systems designed and installed a long-throw Kara system.

‘The challenge was the sheer size of the new sanctuary, which also has a 175-seat choir loft and massive stage with a thrust and an orchestra pit,’ explained Mankin Media president and founder, Ben Mankin. ‘But the Kara loudspeakers were the perfect solution. The curve of the line array perfectly follows the rake of the seating, the throw of the Kara is excellent for distance in a large church and using Soundvision software – which we use for everything – we were able to design and tune the system to cover every seat in the venue within less than 2dB of any other seat.’

The system installed by Mankin encompasses three hangs of 11 Kara(i) boxes each. Low end is supported by six gound-stacked KS28 subwoofers, in addition to arrays of four SM18i subs flown next to the main left and right Kara hangs. Two short-throw X8 extended-bandwidth

loudspeakers provide front-fill, while a pair of medium-throw ARCS Wide speakers flown behind the SB18i serve as choir monitors. A dozen LA4X and two LA12X amplified controllers power and process the entire system.

FABC AV media director Jestin J Quiett also saw the long-term potential for the church by selecting the new sound system. ‘Moving from the old building to the new building is night and day,’ he commented. ‘The technical tools we have now can help us grow for a long time, and the new audio system is amazing. There’s not a bad seat in the room.’

‘This was quite a step up in the kind of space they’ve been used to, and they wanted a sound system that could provide real impact,’ concluded Mankin. ‘In fact, after hearing the new system one of the pastors said, jokingly, “We’d better get some new singers, because everyone is going to hear every note through this sound system”. I understand what he meant, though: the L-Acoustics sound system lets you hear every nuance of what’s coming from the stage. For a church with a message, that’s just what it needs.’ www.franklinabc.com www.l-acoustics.com www.mankinmedia.com

12 WORSHIP AVL September–October 2019

Evangeliums Christen community gets involved in audio upgrade GERMANY: The Evangeliums Christen Baptist church in the city of Paderborn recently updated the sound system inside its house of prayer, calling on the services of Musik Aktiv Musikequipment. The Musik Aktiv team demonstrated various systems before RCF’s

HDL 10-A active line array speaker was chosen for installation. The system was designed by the RCF Engineering Support Group’s German department and the installation was carried out by the church’s community members.

The house of prayer was built in 2004 and holds up to 600 people.

Whereas the sanctuary’s previous system was installed in the centre of the ceiling, the new RCF system has been flown in arrays to the left and right of the stage.

Suspension points were installed in the ceiling to mount the line

arrays. The HDL 10-A installation was made easier as multicore cabling had already been laid in the house of prayer.

The congregation places particular importance on choral aspects of the church’s sermons.

Therefore, special attention was paid to musical intelligibility.

Structural elements, such as balconies and reflective sur faces, had to be taken into account during the installation. RCF Shape Designer was used to ensure the HDL 10-As were set up at the optimum angles for the best coverage possible.

‘For this project, we chose RCF because of the support from their sales department,’ said Frank Schallenberg, owner of Musik Aktiv. ‘The RCF engineers are very conscientious and detailoriented in all they do, plus the quality of the components is very high. When using RCF equipment, we experience practically no complaints or repairs. If there should be a difficult situation, the flexibility of the RCF team always gives you the feeling you are in good hands.’ www.ecgpb.de www.musik-aktiv.de www.rcf.it

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NEWS

Pulse upgrades Maizoon Mosque to digitally steerable speakers OMAN: Sayyidah Maizoon bint Ahmed in Oman has recently been outfitted with a new Aimline public address system by Pulse Information Technologies as part of a recent renovation. It was decided that the existing system installed 11 years ago needed replacing as it was using conventional column speakers and had limitations on sound performance compared to the latest digitally steerable loudspeakers.

Built in memory of the mother of His Majesty Sultan Qaboos, Maizoon Mosque is located in Al Mawalih and first opened in 2006. The building features a breathtakingly minimalist outer design and is full of intricate calligraphy engravings in its interior hall.

‘We were receiving concerns about the audio performance from many of the Imams and devotees,’ explained Ali Nasser, director of operation and maintenance at Royal Estates.

‘A perfect solution to this was needed but involved a number of concerns about the installation and performance. We have worked with Pulse on many projects and they delivered exactly what we wanted.’

The solution chosen by Pulse saw two ALM17.3 and two ALM10.2 cabinets from German manufacturer Aimline deployed as main speakers, with a further pair of ALP8.1s used as fill speakers.

‘There were challenges involved but it was an honour to work once again on a project that I had originally delivered a decade ago,’ said

Hitesh Bhimani, divisional manager at Pulse. ‘We had to deliver much better-performing sound systems without the possibility of laying any new cables or replacing existing

speaker cables, and importantly without damaging any of the mosque’s aesthetics.’ www.aimline-audio.com

Bethel Media seeks flexible collaboration

USA: Bethel Media was established from the substantial crew of videographers and supporting staff that were initially hired by Bethel Church to capture Sunday services and additional outside content. As video content became a more substantial part of the church’s offerings, the decision was made to bring the crew in-house, creating a dedicated production and postproduction team. The crew has recently adopted a Facilis shared storage solution to support its demanding content creation workflows.

‘We started looking for new solutions that could serve all of our editors and stakeholders in different departments,’ recalled Jake Watkins,

video editor at Bethel Media. ‘We wanted central storage that could be accessed by different teams over different types of connections, wherever they might be.’

14 WORSHIP AVL September–October 2019

The team discovered Facilis on a visit to the NAB trade show in Las Vegas. ‘What really impressed me was the flexibility of Facilis,’ said Darrell Hill, Bethel Media’s network administrator. ‘We didn’t need everyone on fibre and didn’t need everyone connected at 16Gb. With the Facilis system, we could also use Ethernet and even have someone on a low-bandwidth Wi-Fi connection browsing media. This gave us much more flexibility for collaboration within the whole company. Now we can have producers on the system as well as our editors, with everyone being managed at an appropriate level of connection and privileges.’

Key Code Media has helped Bethel with past installations. The systems integrator’s enterprise account

manager, Shane Scarbrough, was on hand to assist Bethel Media as it took delivery of its new Facilis system, comprising a 256TB Hub Stack with dual 24EX servers.

‘We bought two raid chassis which hold up to 32 drives, but we’ve only populated 16 drives in each for a total of 256TB,’ said Watkins. ‘It’s good to know we have room to grow.’

Until installing the Facilis solution, Bethel Media had been using a Quantum storage solution. The team had been happy with its reliability and speed, and wanted to integrate it with the new Facilis setup. ‘We didn’t want to trash our older drive arrays as they still had value,’ Hill noted. ‘Facilis was able to integrate this storage into the Facilis Shared File system and make it accessible to the clients alongside the new storage.’

Bethel Media, along with its sister organisation Bethel Music, is busier than ever. Bethel Media has recently signed a contract with Trinity Broadcasting Network to provide sermons and music worship content from its library, while also teaming up with Bethel Music to produce a movie called Bright Ones. www.bethel.com www.bethelredding.com/bethel-media www.facilis.com www.keycodemedia.com

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NEWS

Temple of Leong Hua Saint Thomas updates See renovates sound mic and speaker setup MALAYSIA: Leong Hua See, a Buddhist temple in the city of Klang, has upgraded its sound system, with Search Music designing and installing a solution from DAS Audio.

The upgrade comes as part of the temple’s ongoing renovations.

The temple of Leong Hua See was first established in 1940. With almost 80 years having passed, the temple’s spiritual leader, Chuan Zhi, initiated several renovation works to prevent the building from deteriorating, while also updating the technology employed inside to 21st-century wares.

Search Music serves as DAS Audio’s Malaysian partner. The team was led

by Dennix Yeow and given a brief that called for crystal-clear and soft sound for reinforcing the temple’s daily prayer rituals, as well as a system that could offer reliability and ease-of-use.

The temple’s architecture provided the team with its biggest challenge, as the building spans three floors.

Search Music needed to ensure crisp and clear sound coverage across all three for a singular, unified sound throughout the temple. In addition, the main hall has very high ceilings.

With all of this in mind, the Search Music team worked to achieve an average SPL coverage of 98dB. In the main hall, it achieved this by installing 10 passive DAS Audio Artec-320 line array systems, as well as two powered Vantec-15 systems, four Action-512A cabinets, four Action-M512A stage monitors and a pair of Action-508A enclosures.

‘The line array system is the perfect choice for the temple,’ said a member of the Leong Hua See leadership.

‘What is more, the system has been designed according to our needs, providing clarity and definition of the voice to our daily prayer programme.’ www.dasaudio.com www.searchmusic.com.my

SOUTH AFRICA: Saint Thomas Church in Linden, Johannesburg recently sought a sound system upgrade that would not only sound good, but also not detract from the sanctuary’s aesthetics. The church turned to DWR Distribution and found a solution comprising Quest Audio loudspeakers and Audix microphones.

Two Quest HPI8i two-way passive loudspeakers cover the left and right of the main hall. They are hidden within the church’s woodwork, while a single, central HPI111 compact loudspeaker hangs from the middle of the ceiling.

An additional white HPI5 high-output loudspeaker sits in the room adjacent to the main hall. The amplifier system is hidden behind the choir section with two QA2004 amplifiers providing the power needed to drive this simple setup.

‘We didn’t want it to look out of place and we need to get better sound,’ confirmed Gift Chanza, head of the Sound Ministry at Saint Thomas. ‘The Quest loudspeakers were exactly what we needed.’

Gift Chanza and DWR’s Jaco Beukes For the new microphone setup, the church purchased four ADX12 podium gooseneck condenser microphones for speech. Two ADX40 hanging overhead microphones are hung to the left and right of the choir and a pair of OM2 dynamic microphones cover the lead vocals during church hymns.

‘The congregants who are unaware of the sound setup came up to me after the sermon and gave me compliments on the sound,’ said Chanza, who is happy with the new microphones.’ www.audixusa.com www.dwrdistribution.co.za www.questaudio.com.au sites.google.com/view/saintthomaslinden

Nongpyndeng Presbyterian celebrates new sound in Jubilee Hall INDIA: The Nongpyndeng Presbyterian Church in Meghalaya’s West Khasi Hills has upgraded the sound system in its 1,800seat Jubilee Hall. The hall hosts a range of events, such as lectures, presentations, concert and other functions, in addition to church services. Phawa Audio & Video Entertainment was approached to install the new system, having successfully conducted several

church installations throughout the region.

‘The main requirements were for intelligible speech, along with a microphone for the speakers,’ said Mr Phawa, owner of Phawa Audio.

‘Therefore, we decided to go with eight DynaTech DEL-112 passive speakers, two HP-10A+ active speakers and the newly launched UFX24 analogue mixer, powered

by V-4000 amplifiers. As for the

16 WORSHIP AVL September–October 2019

microphones, we went with the JTS TK-280 performance microphone and the FGM-170 gooseneck mic.’

While the upgrade in Jubilee Hall formed part of a larger renovation project at Nongpyndeng Presbyterian, the church management has certainly noticed the difference it has made. www.dynatechaudio.com www.jts.com.tw www.sonotone.in

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NEWS

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1/2 ISLAND

18 WORSHIP AVL September–October 2019

September–October 2018 WORSHIP WORSHIP AVL AVL 47 41 January-February 2017 29 51 July–August 25 January–February September–October 21 July-August March–April May–June 2019 15

Live broadcasts of lead pastor Steve Clifford’s services in Saratoga are streamed with a five-minute time delay to the church’s South Hills and Casa de Fe sites, while evening attendees at Sunnyvale watch a recording of the service from earlier in the day. ‘We needed better image capture quality as we expanded to multiple sites,’ explained Long. ‘Our existing robotic PTZ cameras created a fairly decent 720p image, but we knew our video could be much better with true broadcast-grade cameras. Following our communicators across the stage with robotic cameras also didn’t look very good, so we had to ask them to limit their actions so they didn’t step out of the frame. We also don’t like to flood our stage with lights, preferring to run it a bit on the darker side to give it a warmer feel. Our previous cameras weren’t great in low-light situations, so we needed ones with better sensors and sensitivity.’ E2i Design, a systems integrator that specialises in houses of worship, recommended the Hitachi Z-HD5500. ‘The Z-HD5500’s full frame rate 1080p capability was a factor in our decision,’ added Long. ‘And its 62dB signal-to-noise ratio is pretty amazing. Its sensor’s ability to handle the challenges of LED lighting at different refresh rates was also very appealing, as our stage and house lighting are almost entirely LED, and we plan to add LED videowalls in the future.’ www.e2idesign.com www.hitachikokusai.com www.westgatechurch.org

NEWS

Flexibility for saints Michael and Gudula BELGIUM: The Cathedral of St Michael and St Gudula has a long history, its building completed in 1519 after 300 years of construction work. It has enjoyed its status as a cathedral since 1962 and, today, it hosts an array of events such as exhibitions, concerts and other

social events, as well as church services. To support the cathedral’s diverse needs, a new sound system has been installed by Joris & Co comprising Audac speakers.

The new sound system needed to blend in with the classical architecture while also producing

design column speakers. The AXIR is 1m in length and designed for optimal speech and sound reproduction in open areas with high ceilings, such as a large church. Also installed were 10 KYDO column speakers to ensure coverage throughout the cathedral and one SMQ750 quadchannel power amplifier equipped with WaveDynamics technology, which drives the entire sound setup. www.audac.eu

clear sound reproduction. This led to the installation of 60 Audac AXIR

www.cathedralisbruxellensis.be www.jorisenco.be

The way to a new sound system USA: Located in Kent, Washington, Way to Salvation Church’s new 2,000-seat sanctuary has been equipped with a dBTechnologies Vio audio system, designed and installed by Seattle-based Hi-Tech Sound & Lighting. Hi-Tech owner Vasyl Mulyarchuk demonstrated Vio early in the church’s planning process for its sanctuary that serves the local Slavic community.

The system comprises left, right and centre hangs, each formed from six Vio L210 line array speakers. Three DVA S10 DP subwoofers provide

low-frequency support and a pair of Ingenia IG2Ts deliver side-fill at stage left and right. Six DVX DM12 TH enclosures serve as monitors, four of which are ceiling-mounted for the choir. Five LVX 10 loudspeakers cover the balcony and four LVX 8 units provide under-balcony-fill. Additional LVX 8 loudspeakers are installed in the hallways and entrance to the church. www.dbtechnologies.com www.htslseattle.com www.waytosalvation.org

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NEWS

Cathedral of the Holy Cross undergoes powerful renovation

USA: Boston’s Cathedral of the Holy Cross is the largest church in New England. In 2018, it reportedly underwent its first major renovation since it was inaugurated in 1875, which included the installation of a new sound system powered by Powersoft Ottocanali 1204 amplifiers and a custom-designed line array employing Powersoft D-Cell 504 two- and four-channel amp modules with on-board DSP and controlled by Powersoft’s Armonía software.

The new sound system is based around a column of two Innovox MicroBeam 32 units. It was designed

by Evan Landry, CTO and president of Landry Audio Division, Commlink Integration Corporation. ‘The primary focus of the system acts as an acoustic anchor, so that all the

sound seems like it’s coming from the chancel,’ Landry explained. ‘The purpose of this setup is to increase listener engagement, clarity and intelligibility.’

The MicroBeam system employs 52 elements rather than the usual 64 due to the dimensions of the sanctuary.

It relies on Powersoft’s D-Cell 504 module for processing and power for the dipole spaced low-frequency section and processed line-level outputs used with the cathedral’s custom MicroBeam.

The Innovox MicroBeam steerable line array uses 26 active mid-/lowfrequency elements that are powered

by Powersoft D-Cell 504 modules, and 26 high-frequency elements. ‘Virtually everything Innovox does as a company uses either ribbon or AMT-type [Air

Motion Transformer] high-frequency elements,’ said Chris Oswood, owner of Innovox Audio. ‘We do this for the principal reason of improved transient response over conventional means, and that has everything to do with delivering the speech chain to the listener without the degradation that results in loss of articulation. We do that to keep the transient information present, and to optimise for speech clarity – but it has a kind of corollary benefit, which is clarity and detail in musical reproduction.

‘We use the D-Cell modules in our MicroBeam designs primarily because of the sound quality of the processor and amplifier sections. Additional benefits that we find useful are the form factor, small physical size and power density of the modules. Many of our products are columnar in

shape, and these modules are easily integrated as a result.’

Landry and Oswood installed an additional 18 Innovox line arrays – one on each of the support columns running along the aisle – to cover from the chancel all the way back 60m to the rear of the nave. Powersoft Ottocanali 1204 amplifiers were chosen for powering each of the support line arrays as well as an additional five channels of monitors, and another speaker acting as a mirror image of the acoustic anchor.

Powersoft’s Armonía software was used by Landry and Oswoof to set up the system’s DSP. www.holycrossboston.com www.innovoxaudio.com www.landryaudio.com www.powersoft.com

FBC JAX employs TallyMan Router with a 12-year-old Sony MVS switcher. Media director Jay Ballard found that the single box solution from TSL and its inter face librar y spanning modern IP and legacy serial protocols provides an immediate means of interconnectivity between older and new equipment.

‘Our volunteers love the new capabilities of our system, and they don’t have to understand the USA: The First Baptist Church of Jacksonville (FBC JAX) has installed a TallyMan control system from TSL Products into its control room as part of an upgrade in production equipment. The

TallyMan solution provides flexible tally communication between the church’s new production equipment and its legacy systems.

FBC JAX required a way to integrate a new Ross Ultrix 12G

20 WORSHIP AVL September–October 2019

underlying technology that makes it possible,’ said Ballard, who has more than 30 years of pro AVL experience. ‘Additionally, we no longer have to re-label ever y input and output on a route change, which equates to faster and more dependable configuration changes.’

While the church installed TallyMan for tally integration, Ballard adds that the ability to inter face with numerous data protocols, as well as analogue inter faces, has helped to fur ther streamline the facility’s workflow. www.fbcjax.com www.tslproducts.com

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Added engagement at Windsor Park USA: In an effort to provide its community with an engaging space, Windsor Park Baptist Church in DeSoto, Texas hosts a wide variety of special services and events throughout the week, including movie nights, its Young at Heart ministry for senior members of the congregation and Tuesday morning prayer meetings for men. Adding to this, the church recently enlisted Stark Raving Solutions to install a new lighting rig to further reflect the spirit of inclusion inside the sanctuary.

‘Looking at the church, we could see that its old stage lighting system, with its incandescent fixtures, was not in keeping with its overall approach of engaging worshippers,’ explained Marcus Hammond of Stark Raving Solutions. ‘Our goal within the space was to transform the worship experience in the room with deeply saturated colour onstage.’

With this in mind, the Stark Raving Solutions team mounted 30 Chauvet Professional Ovation E-160WW LED

fixtures on the large beams inside the sanctuary. The LED ellipsoidals have been positioned approximately 10m from the church’s stage.

With a high output equivalent to a 575W tungsten fixture, the Ovations are able to cover the stage with a flat even field of light that creates a welcoming and engaging atmosphere.

‘Given the throw distance, we wanted high-output fixtures for this application,’ said Hammond. ‘The Ovations had all the output we needed in a front light but, at the same time, they’re also very energy efficient, drawing only 100W of power.’

In addition, Hammond employed 12 Colordash Par-Quad 18 fixtures, spacing them out above the stage.

These RGBA LED units create smooth washes across the deck in a variety of colours and white.

To coordinate the stage wash with the backdrop, 16 Chauvet DJ Colorband PiX linear fixtures were

also installed, allowing the church to create colour-coordinated displays behind its stage to add greater depth.

‘Windsor Park Baptist wanted stage lighting that would not only make it easier for worshippers to see things, but would also be more engaging,’ concluded Hammond.

‘Up to this point, they had never

had a professional theatrical lighting system. Now that they do, they can see how easy it is to create different immersive tones in the room with just the click of a mouse.’ www.chauvetprofessional.com www.starkravingsolutions.com www.windsorpark.com

Blank Canvas welcomes APB into its portfolio

APAC: Asia’s leading broadcast magazine, widely known as APB, announced that it will continue its next chapter as part of the Blank Canvas Publishing arm during the recent BroadcastAsia show in Singapore. Blank Canvas produces a range of pro audio, video and lighting titles such as Worship AVL, Pro AVL Asia and Pro AVL MEA and is ideally placed to absorb APB into

its stable of well-respected trade magazines. In welcoming Asia-Pacific Broadcasting (APB) into its portfolio, Richard Lawn, co-founder and director of Blank Canvas Publishing, noted that the magazine has been serving the APAC broadcast sector for more than three decades – with over two of the three being led by its current publisher and editorial director, Andrew Yeo.

22 WORSHIP AVL September–October 2019

Lawn said: ‘I’ve known Andrew since 1997 shortly before he bought the title from Miller Freeman. Having set up a great team, Andrew has consistently delivered a highly valued regional B2B magazine in a dynamic marketplace. To say I have respected his achievements over the past two decades is an understatement.’

Yeo, who will stay on as a consultant for a year or two to ensure APB’s heritage continues to flourish, revealed: ‘Editec International, the publisher of APB, has been tracking the performance of Blank Canvas Publishing for many years. While I enjoy journalism and the publishing of APB, the time has come for me to hand over the magazine to a younger, experienced publisher and to keep my promise to my dear wife who has supported the company through thick and thin. I promised her that I will retire.

‘In any alliance or acquisition, both parties must be on the same wavelength, have similar vision and mission and, equally important, synergy. I firmly believe that under Richard’s stewardship, APB will be able to move to the next level and, in the world of Instagram, go digital, go social.’ www.apb-news.com

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NEWS: SPECIAL REPORT

Wooridle benefits from latest GDS LED dimmers Richard Lawn revisits Wooridle Church as it upgrades the lighting in its fourth-floor auditorium a 97–99 CRI, the LED dimmers are making a big impact. In addition to creating a rich saturated white light, the recessed reflectors of the 30°, 40°, 60° and 65° beam angles also ensure low glare characteristics.

To control the new system, the GDS team installed the intelligent lighting controller, Prodigy Series. A compact and powerful DMX/DALI hybrid with Art-Net, the controller and outstations were a perfect match for the diverse scene scheduling and lighting requirements in the church.

Accommodating four and two heads, respectively, both the 2K and 4K downlights are wired to 2KLD4CD and 4KLD4CD DMX controllers, providing JUDGING FROM THE EXTERIOR OF the six-storey magnificence of Wooridle Church in the Pangyo district of Yongin City, it’s hard to imagine that its origins can be traced to a gymnasium of Seoul’s Hwimoon High School. As is the case with so many churches in South Korea, the church rapidly grew in numbers to the point that its membership now stands at almost 6,000 worshippers.

Seating approximately 2,500 people at any one time, the sanctuary comprises a large stage overlooked by an expansive balcony with ground-floor seating beneath. While coinciding with the building’s 10th anniversary in 2014, a major refurbishment of the 2,500-capacity sanctuary included the addition of some 400 new LED house lights. However, with the subsequent arrival of new LED dimming models becoming available on the market, the church’s lighting designers went back to school. Hansam Systems sales manager Kim Tay Han was more than happy to provide an overview of a new generation of LED dimmers offering improved lighting consistency and a significant cost-saving over time.

Following a proposal provided by Hansam Systems, the Wooridle Church committee nominated the distributor and systems integrator a contract to upgrade the lighting dimmer fixtures throughout the fourth-level, auditorium-styled sanctuary. ‘We are incredibly proud to have worked on the

The Prodigy Series DMX controller

The Prodigy Series fader module

Wooridle project. It is the first major house of worship installation in South Korea with a complete Global Design Solutions (GDS) LED upgrade and the end results are stunning,’ explained GDS Korea COO, Jinhee Park. ‘GDS Korea was called upon to provide lighting enclosures that would serve as a retro fit for the existing design. On meeting with the church, we were able to demonstrate the great cost and energy savings with an LED upgrade.

Moving away from tungsten, the church is now illuminated with dimmable and better-quality light.’

Over a two-week period, more than 300 Fidelity Series 2K and 4K LED auditorium downlights were installed into the existing LED fixtures from overhead catwalks. Providing smooth and uniform 100–0% dimming with

24 WORSHIP AVL September–October 2019

RDM remote dimming management functions such as DMX addressing, dimmer curve selection and PWM frequency change. In the case of Wooridle, uniform dimming of the downlights is conducted from the control surface of the Prodigy Series DMX controller connected to a combi and fader module.

‘As is normal with houses of worship, Hansam Systems had to fit around a busy church schedule,’ explains GDS Korea project engineer, Bill Price. ‘Therefore, none of the works could be carried out during the weekends or during Wednesday services. With Device Management integrated into the drivers, however, all the fittings could be addressed remotely, saving the engineers valuable time onsite. The

church lighting team was initially enticed by the compact nature of the LED downlights as they suit a recessed installation for short-throw illumination.’

Following an initiative taken by GDS co-founder Richard Cuthbert, GDS Korea was established in 2017 to better cater for the growing market in the country. Manufactured in South Korea in order to minimise production costs, the GDS Fidelity Series has marked its arrival at Wooridle to signal the onset of more dramatic entrances for churchgoers within and beyond Seoul. ‘Our Fidelity Series was specifically developed for auditorium lighting applications such as Wooridle,’ explains Park. ‘Each of the 2K and 4K downlights consumes just 22W and 55W of power and so the church is now enjoying a healthy ROI with such cost-savings.’

For more on Wooridle Church, read Something happened on the way to heaven, in the September–October 2018 edition of Worship AVL. www.gds-korea.com www.woori.cc

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PROJECTS

Renewing St Andrew’s New Sanctuary

When it came time to updating the sound systems in its newest hall, Singapore’s St Andrew’s Cathedral turned to a pair of familiar partners. James Cooke finds out more ST ANDREW’S CATHEDRAL IS THE largest church in Singapore. Located near City Hall in the Lion State’s Downtown Core, it serves as Singapore’s mother church, presiding over 27 parishes and almost 60 congregations. A church has existed on its site for almost 200 years, since 1836, and the current building was constructed between 1856 and 1861. Fast-forward to the start of the 21st century, and the decision was made to extend St Andrew’s in 2003, with work on the Cathedral New Sanctuary completed in November 2005.

In recent years, the cathedral has been undergoing a series of audiovisual upgrades throughout its halls. Many of the works were carried out by Illuminate Productions and Lambda Acoustics and both companies were called in once again when it was suggested that the AV systems in the New Sanctuary could

do with an update after almost a decade and a half.

‘Both Illuminate Productions and Lambda Acoustics have been long-term partners of St Andrew’s Cathedral,’ explains Huang Muen, technical director at Illuminate Productions. ‘Not only have we been involved in system upgrades in the prayer halls, we also support some of the cathedral’s evangelistic events with FOH mixing and lighting design. With the most recent Experiencing God musical, we proposed a design that lit up the nave for the first time, bringing a new worship experience for the congregation. Since then, the design has become a mainstay for their Christmas services.’

Illuminate Productions has extensive experience in both systems integration and installations, and live event technical production. It is because of this

26 WORSHIP AVL September–October 2019

combination of skills that Muen believes many of the company’s clients, including the cathedral, have chosen to partner with Illuminate Productions. ‘It is this, coupled with our after-sales and customer service,’ Muen says. ‘Our experience in touring and largescale conferences and events for churches, such as the Kingdom Invasion Conference, gives us a unique ability to help churches improve their systems and workflow to align with the best practices in the industry.’

Meanwhile, Lambda Acoustics has been involved as it regularly partners with Illuminate Productions. ‘Lambda Acoustics primarily focuses on audio system design and live mixing,’ says Timothy Huang, founder of Lambda Acoustics. ‘We have been partnering with Illuminate Productions for the past few years to provide support in audio system design for its own

events and full turnkey installation projects.’

Although the Cathedral New Sanctuary is still relatively young, technology has moved at a rapid pace since 2005. However, new advances in sound and audio weren’t the only reasons St Andrew’s decided to upgrade some of the systems inside its newest hall.

‘St Andrew’s Cathedral felt that it was time to replace the ageing systems in the Cathedral New Sanctuary, to enhance the worship experience both sonically and visually for an expanding congregation,’ notes Matthew Peter, the AV manager at St Andrew’s Cathedral.

‘The church has traditionally struggled with their video projection system due to the amount of sunlight that comes through the front of the hall,’ explains Muen.

‘Despite using different projectors

PROJECTS over the years, they had not been able to achieve the desired level of brightness and clarity. We therefore proposed left and right LED screens to replace the projectors. With LED technology that includes light sensors to automatically calibrate brightness, we were able to achieve the desired brightness and clarity for the hall.’

Micron WM39B P3.9 HD LED screens were installed, measuring 4m x 2.25m. ‘Since the seating area of the hall remained unchanged, P3.9 screens were proposed as a pixel pitch of 3.9mm was deemed an adequate and cost-effective solution for long-term maintenance,’ says Muen. ‘The screens that were installed are Illuminate Productions’ own brand of screens, called Micron, that are sourced from the best LED screen manufacturers. The version that was installed is a super lightweight wall-mount version with full front maintenance, a high refresh rate and high grayscale. In keeping with Illuminate Productions’ sensitivity for design, an additional maple frame was installed on each screen to bring a sleek finish that complemented the aesthetics of the hall.’

The Illuminate team also installed an ambient light sensor for each screen and Nova MCTRL660 display control systems. Completing the video setup is a Magnimage 750HSS video processor with a pair of HDMI inputs.

‘The audio system was designed

by Lambda Acoustics to address some issues presented by the previous system,’ Huang continues.

‘An L-Acoustics ARCS WiFo system was selected as the per fect solution for the hall, given that it harnesses the benefits of a traditional line source system such as close coupling and linearity, and, yet, was able to manoeuvre the challenging acoustics of the space.’

Three ARCS Focus and one ARCS Wide are flown in front of two SB18i subwoofers on each side The L-Acoustics setup comprises six ARCS Focus and two ARCS Wide with four SB18i subwoofers. Four X8 speakers have been deployed as delays, while an X12 enclosure delivers down-fill.

‘With the tight horizontal dispersion angle of 90° of the ARCS WiFo enclosures, we were able to minimise the amount of energy hitting the highly reflective wooden side walls,’ says Huang. ‘X8 delays were added to help distribute the coverage evenly at the back of the hall where audibility was a challenge due to the tighter ceiling and wooden side panels. Given that additional seating was added to the hall that pushed the first row forward from the initial planned seating design in 2005, we relocated the main clusters to the correct positions to ensure coverage at the front and added an additional X12 down-fill to cover the blind spots in the middle of the first few rows. The SB18i subs were flown behind the main clusters to improve the distribution of the lower frequencies and to reduce discomfort for the band, who, in the past, used to stand in front of floor subs.

‘This entire setup was accurately mapped out in L-Acoustics’ Soundvision software with the utmost attention to detail to ensure both even SPL coverage and no visual blockages to the screens and the cross in the middle of the hall.

We used new, high-quality Canare cabling to optimise the quality of the system with a one-to-one wiring, allowing maintenance workers to easily use the enclosure check function on the LA4X amplifiers that power the system.’

Once the installation was complete, Illuminate Productions’ work wasn’t over just yet. ‘We believe our responsibilities extend beyond just pure installation,’ Muen explains. ‘Our highly experienced operators provided training on the systems installed to ensure the church operators were well equipped and could confidently manoeuvre the equipment.

‘We firmly believe in the need to ensure proper stewardship of church funds. We design and

propose systems based on specific needs and to complement how the church ministr y is run. It is this unique sensitivity to the needs of the church that makes us a preferred partner of St Andrew’s Cathedral as well as many of the other churches in Singapore.’

‘With the upgrades, we have received good feedback on how our worship ser vices sound now and how much clearer and true to life the displayed images are,’ says Peter. ‘We do not have to wrestle with the ambient light coming through via the skylight.

We truly believe this was an investment in the right direction. It is becoming more crucial for us to display and convey our messages with clarity, both sonically and visually. This helps us be more effective in communicating to the congregation.’ www.cathedral.org.sg www.illuminate.sg www.lambda.sg

September–October 2019 WORSHIP AVL 27

PROJECTS

Inside the triangle Breeze Stage and Studio owner and former worship leader Jennifer Breeze Timmerman recalls the sound system set up in Christ the King Vineyard Church’s triangular sanctuary THE SANCTUARY AT CHRIST THE King Vineyard Church in North Olmsted, Ohio is very unique because it’s a triangle-shaped hall, with each of the three sides of the room measuring approximately 35m. The stage spans the majority of one of those three walls and faces the rear corner of the room at a distance of 29m.

Seating is moveable, with a capacity for approximately 400 worshippers.

Services are contemporary in nature and music plays a very important role in their services. There is a full worship band with drums, multiple guitars, keyboards, bass and percussion, along with a vocal team. Whereas the original sound system was inadequate for the space, it was crucial that the new system deliver a high level of speech intelligibility and first-rate music reproduction characteristics.

I spent most of my adult career as a worship leader in the church. After having my son, I decided to retire from full-time ministry to spend more time with my family. After leaving the ministry, I committed to leading a worship leader network. I felt there was little opportunity for local worship leaders to connect with one another.

Jennifer Breeze Timmerman

Through the network, Ed Breyer became a good friend of mine. Ed was a worship leader in South Florida for several years. When God called him away from South Florida, he landed in Ohio at Christ the King Vineyard Church. When the church decided it was time to make some upgrades to their sound system, Ed reached out to me to put in a bid. I believe they chose to work with us for a combination of reasons, but primarily when we submitted the system design, we also submitted an EASE drawing that gave them the evidence they needed to see

28 WORSHIP AVL September–October 2019

that this design would in fact give them nearly perfect coverage throughout their unique space.

The project included replacing their entire sound system – specifically their speakers which were doing a poor job of delivering clear, quality sound.

We chose to run with the PreSonus Commercial line and decided to upgrade their existing digital console with a PreSonus StudioLive Series III, which also encouraged them to add a couple of EarMix 16M personal mixers. This gave them a complete PreSonus ecosystem, which I believe

simplifies things when you can run one brand like that. Their previous sound system was ultimately designed for speech and they had since expanded their worship service to include a full band. In addition, the room previously had a centre stage, which meant their sound needed to be ‘in-the-round’.

The speakers were attached to every column in the space and pointing in every direction. It just was not an ideal coverage pattern and, with their decision to move the stage, we were able to better place the new system.

There were a lot of strange things going on in addition to the sanctuary’s odd, triangular shape. We also had multi-level ceilings, a hard tile floor, tunnel-like corners with the sloped ceiling and half the room opened up to a large lobby, which opened up to the basement. It’s the craziest room I’ve ever seen. We had sound bouncing in and out of the lobby area which made for some crazy reverb times.

The first order of business was acoustic treatments throughout the room. This was a huge help.

Because the acoustics were far less

PROJECTS predictable, we just started tackling hard surfaces and the most obvious trouble spots. I’m sure we could have been more extensive in our acoustic treatment, but, as always, we tried to keep the project budget-friendly. We were most concerned with making big improvements and we were very successful. We actually ran through about three or four different room designs. We ran a ‘stereo’ pair with delays, we ran centre clusters with fills and delays, and we landed with a centre cluster and side-fills. All of the designs could have worked, but budget and practicality played a big role. With the assistance of Jon Taylor and the team at PreSonus, I know we are never making a great sacrifice when we make budget decisions.

The customer is always more than impressed with the results. The final design gave us such amazing clarity and even coverage throughout the room, the church body will never be able to complain that they can’t understand the pastor or the music.

WorxAudio Wave Series W-12Ai point source speakers were installed as side-fills

The new PreSonus StudioLive Series III console And, to top it off, we ended up having a bogus scissor lift. It would not lift the speakers to the ceiling without the emergency shut-off kicking in.

Unfortunately, we didn’t realise the lift was bad till the job was done. The speaker array hung half way to its final fly point for several days as we figured out a manual hoisting plan, which took six guys to pull off and a final bear hug from a certain someone to bolt it into place. Just another reminder

that something will always go wrong.

We look forward to these challenges because then we know we got the worst part out of the way.

Although we do audio, video and lighting, this project was strictly audio. We may have helped change a lightbulb or two while we were 10m in the air, but the only other gear I installed was some Furman power sequencing hardware, so the whole system could be turned on with the flip

of one switch. Previously the church was turning on FOH and then walking to the stage to flip on all the amps.

Certainly not the end of the world, but it wasn’t the shortest walk. And it would have been a little difficult to climb 10m in the air to turn on the powered speaker.

Everyone at the church is very pleased, the coverage is even and the sound is amazing. No matter where one happens to be seated, the entire congregation can understand the presenters when they speak, which wasn’t the case prior to installation.

And the new StudioLive console has given the church more flexibility, with an easier interface, which means their volunteers can maximise their performance as sound engineers. With all these improvements combined, the music sounds better than ever. www.breezestageandstudio.com www.ctkchurch.org www.presonus.com

1/2 ISLAND

Calvary Church - Napierville, IL

We flew a WorxAudio X5i-P line array underneath an X118i-P powered subwoofer. These are positioned over the front, centre area of the stage. For side-fill, there are two suspended WorxAudio Wave Series W-12Ai point source speakers – one for the left and one for the right.

The project wasn’t without its challenges. We had to work on nearly 10m of scaffolding. Certainly not the most ideal way to hang a couple hundred pounds of speaker. Because the sanctuary is built above the basement, we were limited to the basic scissor lift due to the amount of weight the floor could withstand.

This meant that all the beam work above the stage had to be done from scaffolding. It would have been a much quicker and easier install had we been able to work from a boom lift.

ENGAGE YOUR CONGREGATION SOUND SOLUTION FOR HOUSES OF WORSHIP

L-Acoustics systems are renowned for their uniform, full-range, natural sound. Our flexible, lightweight systems project crystal clear sound to your congregation, avoiding reverberant architecture. From the front row to the very back, your worshippers will never miss the message. Generous power ensures each congregant has the feeling of being in the heart of your music. Let our sound systems help you achieve maximum engagement for your house of worship. www.l-acoustics.com

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08/03/2016 09:45:11

September–October 2019 WORSHIP AVL 29

PROJECTS

Two Epson 7,000-lumen EB-G7905 laser projectors output hymn lyrics to the motorised Remaco 4m x 3m screens to the left and right of the stage

Delivering the ‘WOW’ in HOW

Richard Lawn pays a visit to Amazing Grace Presbyterian Church, a house of worship where WOW! Media Resources recently performed an AVL upgrade WHAT’S IN A NAME? ESTABLISHED Singaporean systems integrator WOW! Media Resources is not particularly synonymous in delivering a ‘WOW’ factor on behalf of its clients. However, it merits repeat business on account of its efficient, thorough and well-executed works, transforming worship experiences and practices without the additional fanfare. Recalled to site following a successful audio installation in 2009, WOW! Media Resources director Christopher Chang and his company returned to Amazing Grace Presbyterian Church to upgrade the audio, video and lighting systems.

Having started as Holy Grace Presbyterian Church in 1978, 20 dedicated followers met each week to host an English service on the Upper Changi Road East in

Singapore. Renamed, the current church opened in May 2003 for which the five-level property hosts two sanctuaries, a multipurpose hall and over 20 rooms for its staff and kindergarten operations.

Presbyterian church services may be synonymous with sermons and prayers with a light musical accompaniment, but the Sunday services at Amazing Grace rely on musical accompaniment with a band consisting of a shielded percussionist, two keyboard players, electric and acoustic guitarists and a bass guitarist. The ageing EVI speaker system installed into the 800-capacity, third-floor sanctuary some 10 years ago was earmarked for an upgrade. The 23m x 25m room appears to be ideal for EASE simulations, but the room’s varied 8–10m ceiling height had posed

30 WORSHIP AVL September–October 2019

a problem since services began in 2003. In addition, the wireless microphone system had also been plagued with feedback issues.

WOW! Media Resources was commissioned to design and build

a new audio system that would provide high power per formance, intelligibility and even dispersion characteristics. Based on a scored assessment, five suppliers were invited to demonstrate their

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PROJECTS systems at the church and graded according to price per formance characteristics.

‘Following a demonstration of our EV EVA loudspeaker units, the church was impressed by the even coverage and dispersion characteristics it provided in the space,’ explained Bosch Communications’ sales and marketing communications manager, Gordon Lee. ‘The EVA with the subwoofers provided full coverage and the powerful performance cited by the church committee.’

Having been given a green light to proceed in mid-November 2018, the WOW! Media Resources team managed to complete the works two weeks prior to the 23 December Christmas service deadline. New Cat-6, DMX lighting, HDMI and audio cabling was laid from the open control room to the rear right of the sanctuary to the control room amplifier rack and the various speaker, video display and lighting outputs.

Allen & Heath’s GLD-112 control surface at work At the heart of the digital audio upgrade, an Allen & Heath GLD-112 control sur face is connected to a primary AR2412 24-in/12-out audio rack. This is daisy-chained to two AR84 eight-in/four-out expansion racks over Cat-5 using the manufacturer’s dSNAKE protocol.

Accommodating up to 48 input processing channels, the analoguestyle channel processing control section of the GLD-112 represents a gentle introduction to the digital world for the church’s volunteers.

From the 8.4-inch touchscreen, operators can oversee parameters from the drag-and-drop layout for an easy assessment of the inputs and mixes to the fader strips.

Bosch Communications’ Gordon Lee and A-T’s Nigel Se provided the ‘WOW’ factor for Priscilla and Christopher Chang

The main FOH PA system comprises EVA-2082S and EVA-1151D subs

A simple LED lighting design enhances the services

Fixed to the ceiling on brackets, the main FOH loudspeaker system comprises L–R arrays of three EVA-2082S modules each. Weighing 36.8kg, each two-way cabinet combines dual 8-inch woofers with four 1.25-inch compression drivers to provide a 90° x 20° coverage pattern.

Capable of producing a maximum SPL of 135dB SPL (1w/1m) and operating within a frequency response of 60Hz to 19kHz (±3dB), Gordon Lee’s EVADA (EVA Design Assistant) software tool simulations confirmed that low-frequency extension would be required. This has been provided

by L–R EVA-1151D single 15-inch subwoofers.

Two of the EVC-1122/VI audio monitors are installed above the stage adjacent to the EVA-2082S and EVA-1151D hangs. Orientated towards the stage from a height of 8m, the 10-inch cabinets are powered by a single Dynacord L Series L1800FD DSP power amplifier. The German amplification brand also powers the main speaker system, for which two L2800FD amplifiers supply two 650W each at 8Ω to the EVA-2082S arrays and a single L3600FD model powers two 900W at 8Ω to the two subwoofers.

Seven channels of Audio-Technica’s new 3000 Series constitutes the main part of the audio input upgrade.

The wireless configuration combines

cardioid clip-ons, BP894 head-worn mics and an ATM710 condenser capsule in a new interchangeable format. Two UHF antenna distributors amplify the wireless signal from the transmitters to the receivers via a wide band directional LPDA antenna.

Under the latest Singaporean UHF wireless spectrum guidelines, the 3000 Series offers a wider 60MHz

32 WORSHIP AVL September–October 2019

The grand piano miked with AudioTechnica cardioid condensers bandwidth, providing greater flexibility within the congested RF environment.

While the pulpit is still served by two pre-existing EV CPSM goosenecks, the grand piano is now miked with a pair of Audio-Technica ATM350PL cardioid condensers.

Visually, church services currently use three inputs and three outputs, so the addition of a WyreStorm MX0808-HDBT-H2L matrix switcher will be ample for the next decade with its eight I/Os. Incorporating HDBaseT

Class-B technology, the MX-0808HDBT-H2L transmits 2K and 4K UHD video in addition to HDR, HDCP2.2 and multichannel audio.

Two laptop VGA sources and a Panasonic AW-HE40 HD PTZ camera managed from an AW-RP50E controller constitute the three inputs at present. Mounted below the low rear ceiling, two Epson 7,000-lumen WUXGA EB-G7905 projectors output hymn lyrics to the motorised Remaco 4m x 3m (WxH) screens to the left and right of the stage. In addition, a rear-mounted screen serves as a confidence monitor for the pastor.

HD quality has been assured with the addition of two WyreStorm EX-70-G2 HDBaseT extenders and an RX-70POH receiver between the inputs and the matrix switcher. ‘Future expansion is inevitable with the likely addition of LED screens on various levels of the church,’ comments Chang.

A new 5m-long lighting bar was also integrated onto the ceiling during WOW! Media Resources’ two-week residency. Controlled from a laptop incorporating SL512BC software, the new basic lighting fixtures include six LED floodlights, two LED Fresnels and two LED profiles.

Having delivered the upgrade on time and within budget, church elder AF Yong is particularly impressed with the even audio coverage throughout the sanctuary – including the stage area. ‘The choir and musicians can now monitor themselves clearly and, likewise, the congregants also comprehend the spoken word clearly.

The operators are enjoying the benefits of the digital upgrade and we can start to plan ahead for future expansions with this new infrastructure.’

It speaks volumes that a Presbyterian church is clearly investing so much in its audio, lighting and video systems.

Digitally enhanced with ample inputs and outputs, there will be a ‘WOW’ factor for some time to come. www.agpc.sg www.wowmediar.com

PROJECTS

A MultiDyne FS18000-9X9 TRXa FiberSaver was used to optimise fibre counts

Inside The Dome

Connecting the dots for a Special Session TNDV Television ran a whole lot of fibre to ensure UMC’s event at The Dome was patched up to a backup site, just in case EARLIER THIS YEAR, THE UNITED Methodist Church (UMC) invited 864 delegates from around the world for a three-day Special Session of the United Methodist General Conference. The event, which took place at The Dome at America’s Center in St Louis, also welcomed nearly 10,000 general attendees and was a precursor to the church’s General Conference slated for 2020 in Minneapolis. This meeting occurs every four years to decide the church’s future direction. The St Louis gathering enabled delegates to vote on 78 legislative petitions prior to the General Conference.

Due to both the session’s content and projected attendance, UMC required not only that The Dome be equipped with full production capabilities, it also mandated a fully equipped overflow room. The goal for this latter space – a 1,200-seat theatre more than 900m away – was to accommodate overflow delegates and serve as a continuous space should the need arise to vacate The Dome unexpectedly.

TNDV Television, a Nashville-based mobile production company with nine HD and UHD remote television production trucks, has overseen AV for several of the church’s General Conferences. UMC called upon the firm to accomplish this latest considerable task, acknowledging the AV success of past sessions and trusting TNDV’s expertise to tackle the greater technical task at hand.

TNDV’s Elevation truck was parked backstage at The Dome ‘The main technical challenge was being prepared for two venues with a single control space – being able to seamlessly change location and have audio, video, cameras, intercom and translation feeds move over and no one noticing, technically, that anything

34 WORSHIP AVL September–October 2019

had changed,’ recalls TNDV senior engineer, JJ Hacker, the engineer in charge of the event.

TNDV assigned its ‘Elevation’ truck to serve as a control operations hub, parking it backstage at The Dome.

‘Elevation has a relatively small footprint – it’s only 12m from bumper to bumper – and yet it has a Grass Valley K-frame Kayenne switcher, a fullsize monitor wall and a big audio booth with Pro Tools recording,’ says TNDV owner and president, Nic Dugger. ‘It’s everything that a full-size traditional Class-A truck would have in the body size of a Class-B truck so, when we want to park it backstage, it’s much easier than with a Class-A 18-wheeler.’

While this truck was ideal for supporting the stadium, it also had to control cameras, screens and audio in a space that was almost a city block away. ‘UMC gave us the challenge to support a second venue, control it from the original venue and switch between the two almost instantaneously,’ Dugger reiterates.

TNDV’s solution was to run a lot of fibre. The crew ran 12 strands of

The control space inside the Elevation truck single-mode fibre in a single TAC-12 cable between the stadium and the theatre, and then deployed the hardware required to run signals back and forth.

‘We had to get feeds from the five cameras that were in the theatre back to the truck and send the theatre feeds so that attendees would have a feed on the projector,’ Hacker explains. ‘That meant preparing the switcher’s main programme feed out of the truck.’

TNDV also had to ensure that producers could receive the multiviewer feeds from all of the cameras in both venues. All of these video signals needed to travel back and forth,

PROJECTS with no delay, over the fibre network.

Therefore, TNDV deployed a MultiDyne FS18000-9X9 TRXa FiberSaver device to optimise its fibre counts.

‘Typically, it would take one fibre per feed and, if we’re talking about five cameras one way and four or five feeds the other way, we’d chew through 12 strands of fibre very quickly,’ says Hacker. ‘The FiberSaver allows us to do multiple video and multiple audio feeds over a single strand, leaving the other strands available for other applications.’

TNDV replicated the full production setup it had integrated into The Dome inside the theatre with a few modifications. Dugger relays that in the theatre, TNDV used robotic Panasonic cameras to eliminate the need for camera operators. ‘If we did have to move to the theatre, one person could operate all five of those cameras and still send all five of those feeds back to the truck,’ he explains. ‘This single operator would be situated backstage, in The Dome. We weren’t losing production value by reducing the number of cameras, we simply changed the type of cameras that we used for that application.’

Tedd Kidd, also based in Nashville, served as technical producer. He explains that the simultaneous translation services for the session ran

The nearby theatre through the production truck instead of going through the audio consoles – another important strategic decision.

There were eight languages available.

‘We decided that if we had to move to the overflow theatre, we were not going to move the translators,’ says Kidd. ‘We would leave them in place in The Dome, and we could send those language translations down, encoded on one of the video lines. That way, it saved us some space.’

He adds that the production truck also handled voting functionality. ‘Each delegate had a handheld voting device.

When they voted, the results would go to the truck so they could be displayed on the LED wall in The Dome. That was redundant to the theatre presentation.’

There was also intercom communication to consider as crew members needed to communicate with

each other throughout the session.

TNDV used its own system – Fiber PL – the PL standing for party line.

‘Fiber PL allows us to send multiple channels of intercom in both directions over a single strand of fibre,’ Dugger explains. ‘That means we can have intercom thousands of metres away.’

Getting fibre from the truck, to The Dome, and then 900m away to the overflow theatre involved a labyrinthine run through stairwells, across rooftops, under doors and through ceilings. The cable had to be unobtrusive and, because some of it would be outdoors during a cold, St Louis winter, it had to resist rain and snow. Working with the onsite crew at The Dome, Dugger and Kidd negotiated the run. Dugger notes that one of the biggest challenges was weaving the cable through ‘the last mile’ to its

termination points in the stadium and the theatre.

‘It’s easy to get it all the way down a city block – that’s a straight shot,’ says Dugger. ‘Once inside the arena, how do you physically run it to the truck while avoiding areas with forklifts and attendees in motion?’

The answer was to run the cable around the seats, fly it up to the curtain and then drop it down to the truck. ‘That’s tricky to determine in a space that you’re only occupying for a few days. This wasn’t a permanent installation, so we had to make sure that we could move it in and then out the back-end equally as efficiently.’

In the end, UMC didn’t need to make use of the overflow theatre, but having it up and ready for operation provided insurance for a high-stakes event.

‘You have to be prepared and be ready for the unexpected, but you won’t necessarily be able to take advantage of that investment,’ concludes Dugger. ‘The flip-side – not being prepared and not having the infrastructure in place – would have made it much tougher. We were ready to do the changeover, though thankfully that time never came.’ www.multidyne.com www.tndv.com www.umc.org

1/2PAGE HORIZONTAL

September–October 2019 WORSHIP AVL 35

KnowHOW

Recording vocals 101

Gordon Moore explains where to begin when recording vocals WORSHIP MUSIC IS ENJOYING AN explosion of growth as musicians seek to express their faith through original compositions and new renderings of classic worship music and hymns. The easy availability of recording hardware in the digital realm, the constant improvement in technology and the attendant drop in costs have all lead to a resurgence in recording faith-based music.

This leads to the desire by many to record their music to share with others. This article will cover the technical side of recording vocals – a completely different art from running a front of house mix. We will discuss the equipment choices and techniques. There is another aspect regarding copyright, which won’t be covered here, but it is a subject that you should become familiar with to avoid legal problems.

Remember, recording vocals is much harder than providing an amplified house mix. Every little noise that is normally covered up by speaker restrictions, crowd noise, HVAC, etc. in a live house environment becomes very obvious in a recording.

Hardware requirements: Since we are discussing recording vocals only, we will touch briefly on the signal chain. First and foremost, you need a good, quiet microphone – we will get into the details on microphones a

Pop filter with shock mount bit later. From there you need good, quality studio-level preamps to amplify the microphone signal before it is recorded. Then you need a recording mechanism – a method to capture the audio and save it for editing. Finally, you need your mixing tools.

Microphone selection: The microphone is the most critical aspect of any audio signal chain when dealing with vocals. Your microphone choice needs to be very quiet – that means it must generate very little self-noise. Self-noise – or equivalent input noise – is a signal generated by the microphone itself in the absence

36 WORSHIP AVL September–October 2019

of any other signal; in short: hiss.

Dynamic microphones, because they are passive devices, do not generate self-noise. All microphones that require phantom or battery power will have self-generated noise.

The lower that noise is, the better.

Generally speaking, for condenser or electret microphones, the quieter the microphone, the higher the price.

Better quality is not free.

Pattern selection: Pattern control – the art of picking up only the signal you want from the direction you want – is critical in vocal recordings.

Omnidirectional microphones are

rarely used for vocal recording. They will pick up unwanted reflections, off-axis musical instruments or the sounds of clothing rustles, and they are mayhem in a recording situation.

Try to find a good, quiet cardioid microphone with a large diaphragm for vocal recordings. Cardioid mics have a wide enough pattern to pick up an active vocalist moving back and forth in front of the microphone and virtually no pickup from behind the microphone, avoiding reflected sound.

Directional microphones do tend to be susceptible to handling noise, so invest in a good suspension mounting so you don’t get little bump sounds right in the middle of that special, quiet passage.

Cardioid microphones also tend to have proximity effect and are sensitive to plosive (the P, D, K and T) breaths of air that can cause a thump or wind noise in the recording. A pop filter and/or windscreen are essentials in preventing those unwanted noises in the recording. Most console preamps have a low-frequency, roll-off filter.

Engage that filter to reduce popping and proximity effects.

Place the mic very close to the vocalist – the closer they are to the microphone, the better your signalto-noise ratio and you will hear fewer outside artefacts in your recording.

They should be about 15cm away from the microphone.

KnowHOW Hopefully, your mixing console has been equipped with good, quality preamps. How can you tell? There is a fairly simple test. First, turn all your channels completely down.

While wearing headphones to monitor your signal, crank up the headphone volume control – how much hiss do you hear? That will be the self-noise of the headphone amplifier. Next, turn up the fader for an unused channel (if all inputs are used, temporarily disconnect the signal cable from one channel) and turn the preamp gain all the way up (with nothing connected). Does the noise get much worse? The difference between your headphone amp noise and the last test is the preamp noise. There will be some increase, but it should not be very much. Finally, turn everything to normal operational levels (about 30dB gain on the input trim, 0 on the fader and midpoint on the headphones). Is it nice and quiet?

Excellent, you are ready to go.

Set your gain structure with the loudest possible signal from the microphone without any clipping when the singer is at their loudest level. No clipping is the goal for the raw recording. (You can always add it as an effect if you choose to do so later.) Ideally, your meters will bounce around 0dBu (analogue) or –20dBfs (digital).

Iso tracks vs mixed tracks Many modern digital mixers will allow you to record the individual channels (or tracks) instead of the mix. If you have this ability, this is the best starting point. Individual, isolated (or iso) tracks will give you the best options for the postproduction stage.

If your system does not have the ability to isolate tracks for recording, then follow your best mixing practices for a live environment while wearing headphones, paying very close attention to your vocal blends.

3.

Postproduction

Your performers need to be aware of several things when they are recording vocals.

Once you have your recorded tracks, you can use any number of popular editing software suites such as Adobe Audition, Audacity (free), Pro Tools, Cakewalk, Sound Forge, TwistedWave, etc.

There are many possible software platforms. Regardless of which one you choose, become completely familiar with the software and learn the full capabilities. Most have multiple effects such as reverb, equalisation, compression, limiting and special effects.

Noise reduction – used sparingly – is useful if you are forced to record with noisy microphones.

Many platforms also support plugins, which are additional software packages that integrate directly into your software package and bring additional effects and tools.

Just as you would for a live mix, layer your vocals in the final recording mix. Leads need to be the primary layer with the backup vocals mixed in ‘under’ the leads.

Layer in your instruments carefully and experiment with left/centre/right panning of the various sources to give your recording more texture and spatial depth.

Make copies of your original recordings and edit them – always keep a pristine version of the original recordings. It is very easy to make an error in your postproduction mix that ruins a track permanently (or, worse, gets accidentally deleted).

1.

Summary

Live recordings will be noisier due to crowd noise, stage noise, reflections and bleed-over from the other instruments. Typically, the microphones used are the stage mics, which are not ideal for vocal tracks. You can resolve a lot of these problems in advance by using pop filters, windscreens and careful microphone placement. Most people, however, like the excitement of a live recording and tend to overlook artefacts that would be considered unacceptable in a studio recording.

Studio recording Studio recording allows much better acoustical control. You can gather raw recordings with little unwanted outside sounds and mix them with added effects later.

A dedicated recording studio is always a blessing but, for many of us, one that is simply not available. You can, however, create a good recording environment in your home or church with a few simple tricks.

1.

Live recordings Recording a live show is best done by splitting the microphone signals between the FOH mixer, which provides the amplified sound, and the recording mixer. If a split like this is not possible, then use the direct outputs of your mixer (or the digital recording feed) to go to your recording computer.

In my church, we have a Yamaha TF3 console. The live sound mix is fed direct via Dante to the amplifiers.

The USB feed to the audio computer provides 32 channel iso tracks – prefader – that we can record and later edit in our editing software suite.

postproduction mixing, I heard a swishing sound. It was the director’s arms as he waved them near the microphones – the rubbing of the silk jacket against his side. We had to re-record the entire session. I requested that he wear cotton that day. Normally a very elegant dresser, he showed up in a t-shirt – perfect!

Be prepared to wear headphones – avoid hair styling that would prohibit wearing them.

2.

3.

While actually recording, turn off air conditioners and fans.

Is there a refrigerator in the room? Unplug it. Turn off any equipment with fans or place it behind (not under) heavy blankets to block the sound. If your mixer has a fan, run your cables into the next room and place the mixer there.

Treat the room to soften the reflections – hang blankets on the walls and over windows.

If you can, use an interior room with no windows to avoid outside sounds from causing problems. ‘Soft’ rooms, like a bedroom, can be very good recording environments. You want to eliminate reflected sounds from bare walls.

Place signs everywhere that you are recording – I have to

4.

post an assistant outside the room where we record to act as the ‘sound police’ to prevent hallway noise from corrupting our recordings.

Playback tracks. Will you be recording the entire band or just the vocalist singing along with a recording of the band? If so, you will need an accurate playback system that can play the track at the same beat every time.

By recording multiple takes, you can select the best of the best during postproduction editing.

Prep the artist

2.

Don’t wear jangly jewellery – bracelets, necklaces, noisy earrings can all detract from the recording. It is within your right as the recordist to ask they be temporarily removed during the recording session.

Don’t wear silk. Silk is actually a very noisy fabric. Several years ago, I was recording a men’s acapella group. During the recording session, all seemed to go well. Later, in the

Recording vocals is one of the most challenging audio tasks you can learn. Once mastered, you will find it an invaluable tool in your skillset that will not only make you shine as a studio engineer but will also reflect favourably in your role as the FOH mixer. Recording vocals is hard; learn to do it well and all your audio challenges in the future get easier.

Be blessed and mix well.

September–October 2019 WORSHIP AVL 37

KnowHOW

Odessa’s Life Challenge Church uses EP to drape its sanctuary in the American flag

EP at St Anne’s Cathedral in Northern Ireland Images courtesy of Niall McNally from Cast Ireland

EP used at York Minster during its Northern Lights fundraiser

Getting started with environmental projection Tim Southwick of TripleWide Media describes what environmental projection is and how to get star ted ENVIRONMENTAL PROJECTION (EP) is the act of creating a visually immersive worship environment that ushers the intimate and power ful role of visuals, art and media back into our modern worship spaces. Technically speaking, EP is producing an immersive environment using projection to create a digital canvas on the walls and natural sur faces of a worship space. It can be used to create an intimate environment for worship, to tell a narrative story and transform your space.

To get started, special projectors are not required. We have implemented environmental projection with almost any type of projector. While there are some key elements to consider (size of your projection sur face, throw distance, ambient light, etc.), your environment will dictate the projectors you need rather than needing a particular projector to incorporate EP into your space.

Step 1: evaluate the room The first step of setting up EP is to evaluate your room. But, first, what exactly are we evaluating here? We’re going to want to look at lighting, use of current projection/ technology, shape of the room, angle of walls, budget and what your install window looks like. This is the step most people skip, which is a huge mistake. If you don’t take the time to evaluate all these factors, it is virtually impossible to find the right equipment. There isn’t a ‘one-size-fitsall’ projector that works for EP. Step 2: measure the room Next, get out your tape measure or laser measure. At this point, you (or a consultant, installation company, etc.) should have an idea about projector brightness. Now it’s time to determine how many projectors you will need and what lens you need for each projector. You can determine this by the following measurements:

38 WORSHIP AVL September–October 2019

• • •

Overall width of projection surface.

Overall height of projection surface.

Distance from the back of the room to projection surface(s).

This is to determine where you may be able to project from.

Step 3: find natural intersections In this step, I recommend looking at the room and locating the natural intersections, or places in the room (or on the walls) in which you can hide the alignment of two projectors. You need to be able to align your projectors in a way where you can’t see the edges of each projector. Our secret is natural intersections. This may include separation of walls, screen edges, a column or stage element, or possibly an imperfection in the wall. On a side note, if you’re room doesn’t have any natural intersections, you will need a technology called edge blending. The natural intersections are the places we can hide the seams of each projected image, so the audience doesn’t see any edges.

Step 4: software and processing Many would argue that this step and Step 3 should be reversed, but I disagree. If you cannot find natural intersections in your room, you will have a tough time determining the best software or equipment required to set up EP. A room with natural intersections may be able to use a standard presentation software and an external multi-screen processor, but a room without natural intersections may mean you have to look into other alternatives, such as edge-blending hardware (or software) or other more advanced image mapping technology.

Determine the purpose and use of EP in your room. Will you ever want the image to be ‘tiled’ (or repeated) on each section of the room? Will you ever want to display text or lyrics? Will you only want to display still imagery, or will you want to play videos too? Will you ever want to manually dissolve two images (or videos) together? What software do you already own? These answers will

KnowHOW NEWS

Here Again in the round

all play a factor in the software you ultimately go with.

You will also need some sort of multi-screen processor. In most cases, this is a piece of hardware.

The DatapathX4, TripleHead2Go, Green Hippo Hippotizer or Vista USA: Tennessee’s Spyder System areExperience all examples of Community Church recently hosted its various multi-screen processors.

Here Again Worship Night. Nashvillebased5:Myers Concertinstallation Productions Step equipment supplied a Vue Audiotechnik sound Now you’re ready to install everything. system thestraightforward in-the-round event, This is afor fairly section deploying some of recommend the newest cabinets and I would highly in its arsenal the first time. looking into a for professional installation company to install your projection hardware and mounts. This will make your install look clean and most installation companies give customers a year of support or, at the least, a warranty for the products you install.

Step 6: alignment Once you have installed/mounted projectors and taken care of getting all the right signal and power to them, the next step is to align. In order to do this well, you are going to need a good alignment pattern. If you don’t have any (or you don’t like what you have),

sure that the projector is level. If the projector is not level, you will never be able to achieve success for the next part. Second, use keystone correction to make your image line up to create a uniformly square image.

Don’t let the lines slant in any one the entireand line,beVue provided an direction cautious of your option where could use differentsquares beingwe trapezoids. sized line array elements to provide uniform sustaining the Step 7: coverage masking while and cropping same room tonal is characteristics Every different and,across unlessthe listening you have area.’ three incredibly massive, The system deployed comprised perfectly proportionate screens, 16 al-8will linenot array cabinets, fouronhangs EP have a clean in edge all sides. Once your projectors are installed, part of the image may be on the ceiling, chairs, floor, light fixtures or other permanent pieces in the room. In this step, you will want to ‘mask’ (or remove) the portion of the image you do not want to show.

There are a few pieces of software that will allow you to mask out your image in the same program you use to display your images. (Some presentation software has masking functionality built-in.) When we mask something, we are simply preventing a portion of the image from being

The stage was situated in the of four for longer throws, four hangs centre of the Experience Community of four al-4 speakers for shorter Church’s rectangular sanctuary. A throws and six ground-stacked hsformer factory, the venue features 221 ACM subwoofers. highly reflective exposed brick walls, ‘The low-end extension was concrete floors, steel rafters and a incredible, while the top was very 6m-high ceiling. Therefore, the Myers crisp without a bit of harshness,’ said team deployed a Vue PA system Austin Kursave, the church’s FOH with a 360° configuration to match engineer. ‘Everything sounded so the in-the-round stage setup and to clean and clear.’ overcome the acoustic woes felt in ‘I was extremely pleased with the such aneffects environment.

Wintry brought into St Anne’s performance of the Vue system,’ Image courtesy of Niall ‘We were faced with McNally a varietyfrom of Cast Ireland added Clark. ‘It provided even issues that you’d expect from a large dispersion across the listening warehouse originally designed for area without losing is any energy don’t worry, not we’ve got some great test projected.

Masking the secretand Brice live performances,’ confirmed excitement throughout venue. I patterns on TripleWide Media. They’re sauce that makes your the environmental Clark, system engineer at Myers look forward deploying boxes all at 2,400x600 resolution and will projection feeltolike paint onthese the walls Concert ‘Several issues on more of ourpart shows.’ make thisProductions. step a lot easier – you are and a natural of the room. included height limitations, varying simply matching up all the lines and www.experiencecc.com room depths andangles. weight restrictions the colour-coded Step 8: content www.myersconcertproductions.com Without content, you won’t have for thegoal overhead truss. is Because of The of alignment a square www.vueaudio.com anything to put on your walls. You can the scalability image.

Squareand youruniformity projectorsacross off have the greatest projectors, alignment of the stage and/or ceiling and and masking, but, without content then align the others from there that speaks to your environment and (rather than the ceiling and floor on the story you are telling, you’ll miss either side). This may sound like a the mark. Start simple with stills that quick process, but it will take some have texture and environment. When time and fine-tuning to get it right. transitioning to motions, use those Alignment is a bit of an art and will with subtle movement. Size increases come easier to some. speed. A floating particle on your If you are not aligned correctly, computer screen may look like a meteor the image may appear warped or crashing to Earth if it’s moving too fast. lopsided. There are two things to Always test before you put content to consider. First, make sure the image use during a service or event. is level. In the TripleWide Media alignment patterns, use the red www.triplewidemedia.com lines (they mark the centre) to make

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September–October July–August2019 2019WORSHIP WORSHIPAVL AVL 39 9

KnowHOW

Facial lighting techniques John Black takes a closer look at three specific lighting techniques: broad/short, butterfly and split IN THIS ARTICLE, WE’RE GOING TO step back a bit from stage lighting and, instead, look at some facial lighting techniques that come from the world of studio photography. Many houses of worship put time and ef for t into producing promotional and marketing materials for their worship ser vices, special programmes, mission oppor tunities or other special events. Often, these materials are produced in-house and may be put together by a team of willing volunteers who may or may not know some of these techniques that can take their photos to the next level.

We’re going look at three specific facial lighting techniques that can be easily achieved through the physical positioning of a subject, camera lens and light source.

Understanding how these techniques work can help you achieve well-lit shots without necessarily needing high-end, expensive professional equipment as you can achieve all of these using natural light. They rely on an understanding of the direction a light source is illuminating a subject in relation to the direction the photograph is being taken from.

It is also important to remember that the camera lens is capturing the existing light, so an understanding

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

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

of these techniques during the shoot will provide a better foundation when editing and assembling your materials. Let’s dive in.

Technique 1: broad/short The broad – and its opposite, ‘short’ – technique actually has more to do with the position of the subject to the lens than moving the position of the light source itself. When using the broad facial lighting technique, the subject’s face will be turned slightly away from centre and away from the light source. As a result,

lighting

40 WORSHIP AVL September–October 2019

John Black, theatre manager for Seoul Foreign School

a larger area of the subject’s face will appear to be lit, with a smaller portion of the face appearing to be shadowed. In relation to the camera, the portion of the face facing the camera will be highlighted, while the portion of the face farther away from the camera will be in shadow. One of the effects that can be produced using this technique is to make a subject’s face appear to be wider (or broader).

What are some situations where you would want to create a broader appearance? If your subject has a narrow face or has a facial

feature they would prefer not to be highlighted in the photo, you can use the broad lighting technique to avoid your subject looking too thin or hiding the unwanted facial feature in shadow. The flip side of the coin is that many subjects would rather not appear too broad or wide in the shot. If your subject has a wide face or is heavier, using the broad technique would highlight this, which may not be the most flattering result.

In these situations, you could use the shor t lighting technique, which has the subject’s face turned slightly away from centre as well, but facing towards the light source. This results in a smaller area appearing to be lit with a larger por tion of the face appearing to be shadowed. In relation to the camera, the por tion of the face facing the camera will be in shadow, while the por tion of the face far ther away from the lens will appear to be lit. The shor t technique is more common in that it often appears more flattering.

Both the broad and shor t lighting techniques don’t necessarily necessitate the moving of the light source, but rather simply repositioning the subject in relation to the light source and camera lens to achieve the desired effect.

lighting

KnowHOW

KnowHOW

Setting up a basic lighting grid Technique 2: butterfly

If you search for a definition of the butterfly lighting technique on Google, pretty much every definition will say something with regards to the butterfly-shaped shadow that is created just under the subject’s nose. This is because there really is a butterfly-shaped shadow created when using this technique. In this situation, the light source is positioned above and directly behind the camera.

The result is that both sides of the IF YOU’VE TAKEN THE TIME TO face are evenly lit and shadows look at the lighting positions in a are created just under the nose, variety ofsometimes facilities, you mayWhen have chin and brow. noticed despite the lightseveral source similarities is placed correctly, the looking completely this venues technique produces the fewest different shadows.architecturally. This is because lighting Butterflythese lighting is alsopositions referred to as were first considered relation the ‘glamour style’ as in it is often used to the stagephotography. and lightingThe design in glamour downside theories as to how effectively of this technique is to that it doesn’t illuminate presenters or scenery on allow you to cover up any blemishes it.

Depending on thefeatures, architecture of or unflattering facial though the auditorium, finalcare lighting these can be taken of inpositions the may beand determined by process. ‘best fit editing retouching One of the things to be careful about when using the butterfly technique is to make sure that the light source is not positioned too high or too low.

If the light source is positioned too high, the shadows created will be

variation in human facial features, such as the height of the nose or the depth of inset eyes. Therefore, when positioned at exactly 90° from the light source, the shadowing and highlighting will vary from subject to subject. The goal of split lighting is to create two equal halves, so that is where the placement of the light source may need to be adjusted accordingly.

Split lighting is a great tool for creating dramatic images. There are numerous examples in mainstream media photography of the use of split lighting, such as headshots of music artists for advertising materials. Split lighting not aForeign technique thatinyou John Black serves as the theatre manager for is Seoul School would use of a guest Seoul, South Korea.

Holding a degree in Theatre Design, hespeaker providesmaking Technique 3: split technical production support and design in three state-of-the-art a presentation at your house of performance venues on campus 40 major and but it may The third and final technique we for over worship on aconcerts serious topic, productions a year facial in the lighting areas of sound, video andwhen staging. will look at regarding be alighting, technique used promoting John especially sharing for entertainment technology techniques is splitenjoys lighting.

As thehis passion a special music or drama event, for withalludes high school studentsusing each split year through his student production team, term to, a situation example.

Crusader Live!, students to finding learn and with lighting divides thegiving subject’s face the opportunity If you are thatwork the shadowed professional-level technologies in a demanding production environment. into two equal halves, one that is half of the face is too dark for what well lit (or highlighted) and one that is you are looking for, you can use a shadowed. Achieving this is relatively reflector opposite the light source to simple – just make sure that the light reflect light back onto the subject’s source is positioned at approximately face. The shadowed half will still be 90° to the subject. darker than the highlighted side, but You may be wondering why I use this can help the camera capture the term ‘approximately’. It goes some facial features but at lower without saying that there is a wide intensity than the highlighted side.

quite long. An example would be if the shadow created under the nose extends to the top lip. Alternatively, if the light source is too low, the shadows may be so short that there is little shadowing at all, which can result in your photo looking flat and two-dimensional.

If the shadows produced from the light source are too strong and you are unable to adjust the light source to be lower, you can use a reflector under the subject’s head, tilted back up towards the face to fill in the strong shadows. This will take some experimentation with the angle to achieve the correct balance.

John Black discusses some of the basic lighting design theories for creating a flexible lighting grid MEET THE AUTHOR

lighting

In conclusion These are just three facial lighting techniques that you can easily take advantage of when photographing subjects using a single light source or natural lighting. In effect, all that you are doing is adjusting the direction of the light source and the positioning of the subject and camera to control or manipulate the highlighting and shadowing on the subject’s face. Once you have mastered these techniques, you can add additional light sources or experiment with alternative arrangements of these elements to come up with other creative lighting techniques for your projects.

Finally, these techniques can also be used as basic techniques for facial lighting for your video projects. If you are shooting on location or don’t have access to a full lighting rig, these techniques will help you consider the balancing of shadows and highlights to helpBlack, createtheatre depth and prevent your John manager subjects appearing flat and twofor Seoulfrom Foreign School dimensional.

I hope that this brief overview has possible’some to lighting design theories, provided helpful tips for you as choosing positions that workAsasI always best you approach facial lighting. as possible given the constraints or say, lighting is a creative endeavour, limitations room itself. so feel freeof to the experiment to get the Perhaps youyou areare approaching specific look seeking. an auditorium renovation, conversion or new build and you have been tasked with looking after the lighting rig, including the placement of lighting positions and what should be included in the house plot. This article lays out some of the basic lighting design theories, as well as providing some tips when approaching such a project so that an effective and flexible basic lighting grid can be achieved.

lighting

Zoning your stage Before beginning to think about the fixtures or the placement of them,

Fig. 1 Robb Hall Theatre – lighting areas

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40 WORSHIP AVL AV March–April 2019

September–October 2019 WORSHIP AVL 41

MAINTENANCE Image courtesy of Jabez Corbett from Pexels

Lighting rigging A ‘safety first’ philosophy should guide the maintenance of lighting rigging. Frank Wells investigates the considerations SUSPENDED LIGHTING GRIDS are commonly used in houses of worship to allow flexible below-ceiling mounting of stage lighting fixtures.

Rigging can range from metal piping to hanging trusses and grids. Rigging can hang in a fixed position, as in most houses of worship, or in a more sophisticated stage set design that allows raising and lowering of mounting for service, repositioning of fixtures or the mounting of additional fixtures.

As the lighting fixtures, and the rigging itself, hang above the heads of your congregation, worship leaders and praise team, the safety of the installation is paramount. Qualified rigging professionals or structural engineers should be involved at the system concept, design and installation stage. Lighting fixtures should be installed as directed in manufacturers’ manuals using approved clamps and backup safety cables.

With safety as job one, the major component of lighting rigging maintenance is ensuring that the system elements are not just hung securely by their primary mounting, but also protected against failure by secondary safety cabling designed to protect against fixtures falling should primary fixture clamps fail. For example, I once attended a concert in a convention hotel ballroom that used traditional can lighting (like many HOWs use for general room lighting) where the band was playing so loud that the lighting fixtures were jarred out of a drop ceiling with only their safety cabling protecting the audience from danger. A house of worship would not likely be playing music that dangerously loud, but, over time, sonic vibrations and building mechanical vibrations can cause similar effects with any lighting fixture.

Inspections of lighting bars and trusses should confirm that these elements are level and that they are securely attached to their mounting

A badly neglected cable clamp is what regular inspections help to avoid

A rigging safety awareness workshop taking place

Safety cables, like this ikan model, protect worshippers from danger hardware. Additionally, it should be verified that hardware or pulley assemblies and other components are securely mounted – screws, nuts and bolts should be tight, wire rope/ cable/chain clamps and clips must be tight and secure, and turnbuckles must be wired to prevent loosening.

Metal components, including hanging cabling, should be inspected for corrosion and rust. Stranded wire hanging cables should be checked for any sign of fraying.

Motorised lift systems should be operated routinely to help ensure reliability – these systems need their exercise. Listen for any sounds of strain in the motors or unusual noises like grinding. Such sounds can help you identify areas of concern before they become failure points. Counterbalanced systems can be very complex – there’s lots to check and the checks should be taken seriously.

Inspections should be performed annually at least (and may be

42 WORSHIP AVL September–October 2019

required by some insurance policies).

They should be carried out by trained and qualified personnel. This can be members of the tech team if they’ve had appropriate training – a house of worship can save money in the long run by taking advantage of available training courses for staff. Professionals should be called in if an in-house inspection reveals areas of concern to be addressed and should still be called in for inspections every 3–5 years.

For reasons of not only safety but potential liability, lighting rigging safety is not the place to skimp in a HOW’s budget.

While checking out the system, a house of worship should also review its lighting plan and take advantage of the opportunity to reposition any lighting fixtures that could be better employed. Also, while fixtures are being accessed for rigging maintenance, lamp replacement can be conveniently undertaken on a preventative maintenance schedule or to replace lamps that are nearly past or beyond the point of acceptable performance.

While cleanliness will be appreciated by anyone having to mount or move fixtures, the performance of fixed rigging itself is unlikely to be significantly affected by dust or dirt, though in a humid environment grime can promote corrosion. Cleanliness can affect the performance of elements of a moving system and of

A fraying wire rope would create a dangerous situation in a lighting rig the lighting fixtures themselves. The usual precautions apply: no cleaning liquids around powered electrical and electronic systems at all; and no liquids that will penetrate lighting, motor or control housings even when systems are powered down. Vacuums and clean cloth rags are the best options. Vacuum hoses can be fitted with a brush attachment or used in combination with a dry, clean paint brush to dislodge dust and dirt.

Cleaning cloths can be used dry or, when systems are powered off, lightly dampened with water (or with pure alcohol serving as a gentle, residuefree solvent where external grime and dirt are heavy).

Staff safety during lighting rig inspections and maintenance is also critical, especially when having to use ladders or lifts to access grids or other fixed install elements. Again, if you feel your tech staff cannot handle the tasks safely and thoroughly, call in a professional. Safety first – do not neglect protecting the safety of worshippers.

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DSP signal processing, automixing, ambient noise control, amplifier monitoring, event scheduling/triggering, and much more in a new super-inRestaurants, Bars, Hotels tuitive GUI. Since it’s built-in, you can re-configure or troubleshoot from your office.

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TECHNOLOGY

The Lutheran Church of Hope

Public address and voice alarm systems

We spoke with Ralph Singer from TOA Electronics and LDA Audio Tech’s Juan Manuel Díaz and Pedro Martos about the importance of a good PA/VA system What is a PA/VA system?

TOA’s VX-3000 combines vital PA/VA functions ensure functionality in the event of a power failure. The TOA VX-3000 also has a built-in ambient noise controller so it is possible for the system to automatically adjust the volume levels as a house of worship gets noisier or quieter due to the number of worshippers differing during services.

Do PA/VA speakers differ from other speakers?

Singer: Yes, they do. Speakers for emergency purposes are required

44 WORSHIP AVL September–October 2019

to be cer tified according to the fire standards (EN 54 or British Standard) and usually include a thermal fuse, porcelain connector block and fire-resistant internal cabling. The speakers function as normal speakers do and therefore can be used for multiple purposes.

TOA manufactures a wide range of cer tified speakers, including line arrays, cabinet, ceiling, projection, pendant and horn speakers.

Pedro Martos, LDA international sales manager: They could look similar once they are installed, but

Image courtesy of TOA

Juan Manuel Díaz, LDA engineering and support manager: A public address and voice alarm (PA/VA) system is an electro-acoustic system to manage live and pre-recorded messages. It can be used as an information or entertainment system, as well as a voice evacuation system.

The standard composition is: input sources, management matrices, amplifiers and, finally, speakers.

Ralph Singer, sales and marketing director at TOA Electronics Southern Africa: A PA/VA system usually consists of the headend equipment which is made up of a system manager incorporating the mixer, digital signal processor, amplifiers, power supply managers, microphones (fireman’s and remote microphones) and a variety of certified, fire-rated speakers. Included in the system manager are additional features such as monitoring of the entire speech path from microphone capsule to the speaker lines, control inputs and outputs for integration with fire detection panels and other third-party products. Backup batteries are added to the system in order to

the speakers used for emergencies must meet minimum standards of stability, water tightness and availability, following the applicable regulations – in our case, EN 54-24. In addition, these speakers usually have a better frequency response in the specific range for the human voice, sometimes ignoring lower and higher frequencies. Another par ticular feature of these emergency speakers is their high directivity, to avoid unwanted reflections, thereby improving the intelligibility of the system.

EN 54 stipulates the product and testing requirements for voice alarm components in fire detection and alarm systems

TECHNOLOGY Can a PA/VA system also perform other functions?

Singer: Yes, this is possible. TOA has had many of its speakers, including array-type, certified in order to provide cost-effective solutions for various users, including houses of worship. Alternatively, it is possible to integrate the two different systems, should this be the case, whereby the voice alarm system also uses the speakers within the existing public address system. Be careful, as usually the existing speakers are fire-rated, so it would be best to add some fire-rated speakers as well.

A voice alarm system incorporates a public address system and a BGM

(background music) system.

The PA system can be used to address worshippers as normal when a service takes place, can play background, or even foreground, music (especially if there is a live band) and can be used for emergency purposes in the event of an incident (fire, natural disasters and even shooting incidents) and is therefore able to provide a complete solution.

Mosques are able to use voice alarm systems as a PA system and for the call to prayer. This is ideal for supersized mosques, as there are usually many thousands of people crowded inside. Should there be an

ONE from LDA is a complete PA/VA system with an EN 54-4 battery charger

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What should a house of worship look for?

LDA’s NEO is an all-in-one EN 54-16 certified PA/VA system incident, the voice alarm system can be used to guide the worshippers to safety.

Martos: An LDA system can be used as a PA and VA solution at the same time. Electro-acoustic systems can have a double use. Several speaker lines can be installed in a mosque and used for the call to prayer. In the majority of cases, outdoor horn speakers are installed to fulfil this need.

Díaz: PA/VA systems can be used for any type of music and messages, such as announcements and BGM. You can also use them to perform other operations, such as opening doors, controlling lighting or any other automated processes. Our equipment can be easily integrated with other systems: cameras, CCTV circuits, central servers and more. They offer a lot of additional functions, like integration with a building management system or remote control using a web browser. And, above all, voice alarm systems can save lives.

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Díaz: First of all, you have to consider the word intelligibility, or speech clarity, and, depending on the size, a phased evacuation. Another factor to consider is fire resistance – not only for the speakers, but also for the wiring and other equipment. The emergency activation has to be easy to reach and be located where there are always people who are familiar with the evacuation protocol.

Singer: The system must be scalable, provide digital signal processing in order to adjust the sound to meet the acoustic requirements of the building and must be easy to operate.

Ideally, PA/VA systems should be designed, taking multiple factors into account: the size and layout of the building, the finishing touches (for example, are there curtains or exposed windows?) and the acoustics of the building (HOWs usually have very poor acoustic environments due to high ceilings, lots of open spaces, many windows, hard finishes such as tiled floors and wooded benches, and many more factors). www.lda-audiotech.com www.toasa.co.za

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September–October 2019 WORSHIP AVL 45

TECHNOLOGY

Troubleshooting basics for HOWs Regardless of experience, AV systems can present audio professionals with a variety of issues, so don’t panic, says Ashly Audio’s director of technical support and service, Jim Schwenzer ONE OF THE HIGHEST-QUALITY TRAITS to have in the professional audio field – and one that doesn’t necessarily require years of experience to gain – is the ability to effectively and calmly troubleshoot a problem. Ask yourself: how well do you react when things go awry in your HOW’s workflow? Are you an individual who begins snatching cables in a mad panic? Or are you the quiet, methodical thinker who pauses a moment to fully assess the potential fault?

Unfortunately, more of us tend to lean toward the frenzied reaction approach than we’d like to admit.

But, acknowledging that we all tend to react first and think later is the first step in ensuring improved decision-making when the pressure is on and your audio suddenly cuts out – which, it most assuredly will at some point in your career and is something you may have to deal with no matter what level of AV expertise you carry.

Stop and think I know that many will laugh at such a simple piece of advice, but years working technical support have shown that personal paralysis caused by a system failure can hit anyone, regardless of experience or technical know-how.

The reality is that when a problem occurs, adrenaline kicks in. Human nature is to try and fix problems by making multiple changes in a single step. Common explanations that the technical support team hears over the phone are those that attempt to address a million potential issues.

For example: ‘We swapped the microphone cable and I patched it into a different channel’ or ‘We just swapped everything out and now it’s a different problem entirely.’

From a troubleshooting approach, everything about this is wrong. The first thing to do is quite simply stop and take a moment to ask: what is

46 WORSHIP AVL September–October 2019

the one incremental change I could make to better understand this problem? Often, common sense will be enough to get you through.

A case in point Consider an example where a church has multiple zones for audio – for example, the left and right side of the sanctuary, a separate infant care room or a delay on underbalcony speakers. Now consider what happens when audio stops working in one of those zones.

The cooler heads will begin to take something of a flow-chart approach.

1.

2.

First, is there confirmation that the other zones are working? The answer to this can quickly become a tool in solving the problem.

Assuming the other zones are working, you will need to test the speaker and the speaker

3.

4.

line. Try moving the speaker line over to a working amplifier output. If you have audio, you now know the line is good.

Move the speaker line back to its original position. Now move the input that feeds the live zone over to the input for the amplifier channel that isn’t working. If that works, we now know the amplifier channel works.

Now reconnect the original cable to the amp input in the unfunctional area and move the other end to the output driving a functional zone. If audio returns, we can establish that everything between the processor and the speaker is functional.

This may not be the end of the troubleshooting, or you may discover the problem within the first few steps. Either way, a focused,

TECHNOLOGY more granular devices typicallyapproach rely uponwill an allow you to zero in on thepotentially likely trouble Ethernet connection, much out faster than if you quickly ruling older systems.

The benefit replace withoutisrhyme of using components Ethernet, of course, or reason. flexibility afforded by the network’s This approach can bedata further higher bandwidth.

The sent applied everything to dead of via MSCfrom can include all manner microphones parameters, (always checksuch the as performance batteriesdesk first)submaster to ground and loopplayback hum – lighting a problem that truly requires its own settings. write-up, as ground loop is not the All MSC-compatible devices only instruments source of hum. and are able to communicate with each other Be prepared for trouble and computers programmed to understand the messages as Another way tothe avoid trouble is they all follow same, standard to expect it’s coming andthe be MSC MSC specification, using prepared with options.

Command Set.backup This means each System breakdowns be quickly product transmits ancan identical avoided during message for thecritical sameevents MSC event, – suchasas holiday pageants cue. or such hitting a particular liveall performances – by musical keeping As MSC-compatible additional cables, batteries, instruments feature a built-inpower MIDI supplies and on hand. interface, theymicrophones are able to follow Adding an extra power amp to the any number of MIDI-over-Ethernet rack is also an affordable upgrade protocols. for even the small-are or assigned medium-sized MSC messages to church orthat worship venue the cues a device is seeking able to to insurewithin against worst-case manage thea show controller’s scenario. cue list. These are transmitted from the controller’s MIDI output Partner for success automatically during the show, as commanded by either the user or Finally, the biggest step you can the controller’s internally timed take in ensuring your worship venue sequences.

RME’s Fireface UC audio and MIDI interface

Other show control options

While USITT developed DMX512 in the 1980s, the Entertainment There are, of course, other Services and Technology Association entertainment control alternatives (ESTA) took over the standard in available with which you can build a 1998. After ESTA revised it, ANSI (the show control system. You will likely American National Standards Institute be familiar with, or at least have – which established ANSI lumens Live music at Manley Baptist in Tennessee installed heard of, some of them.

For example, as arecently measurement forAshly’s light output Pema integrated DSP amplifier you may have seen theand letters DMX technology of projectors) accepted DMX512 in appear together in this magazine 2004. Today, the Professional Lighting remains upThe andUnited running is toInstitute partner • previously.

States and Sound Association (PLASA) Committed manufacturers with an integrator and manufacturer for Theatre Technology’s (USITT) manages the live standard, following its provide technical support that provides troubleshooting DMX512-A is often regarded as the merging with in 2011. both forESTA end-users and the standard lighting options and support.

Youfor don’t need current industry Although several manufacturers, integrator.

That means that even control systems. works asout a control to sit there aloneIt working a most ifofthe which produce lighting control system installer needs to method digital consoles, problemcommunicating with only your between search engine pitched for DMX get involved, they too to willbecome have lighting consoles and entertainment as a guide. a show controlfrom standard for all that AV are support the people lighting fixtures, dimmers and effects elements, network limitations and powering the system. machines such ascome fog generators Live support can in a few and lack ofManufacturers speed meant that • are the alsoidea was strobes. different forms: never widely considered. beginning to rethink the

Otherproduct contenders on in the audio design many ofend of the their spectrum include solutions for Audinate’s the HOW Dante market. and CobraNet. The change latter is is the One major older of two, having around thethe integration of been web servers since the mid-1990s.

It is considered within devices. This means the first commercially a third party cansuccessful remotely digital connect audio network solution. to a system andUsing check a mix of hardware andsoftware software side to things from the manage, CobraNet still enjoys before they head out to a your large installation thisboon day to facility. Thisbase is a to huge and isthe licensed to several pro audio end-user as it adds to the manufacturers. potential of a quick fix. another term •Dante A is partnership withthat theyou may well becompany familiar with browsing that from integrated your these system pages. When comes audio meansit you will to always networking, is largely considered have ait local support team. to be theMake heavyweight champion.

Taking sure you are keeping its name from the in touch withabbreviation your trustedof the phraseintegrator Digital Audio Network Through partner throughout Ethernet, is aabout propriety the ityear any solution potential for distributing changes uncompressed, to your system or any multichannel, low-latency digital audio issues that you notice.

Early via an detection Ethernet network. of problems goes a Whatever systems and standards long way to avoiding any bigger you choose to use, it is vital to issues. ensure that everything you are adopting is able to the communicate.

If you partner with right Some solutionsand mayintegrators, be better manufacturers suited to a particular entertainment you’re assured a helping hand aspect.

For example, it may make when things do go awry.

And, if sense to employ Dante network you combine thatawith appropriate for audio.and However, you’reyou’re looking planning a levelifhead, for a to solution to control the whole sure be ready when things do show, MSCget could be a simpler, yet eventually problematic for your all-encompassing, option.

HOW venue.

1/2PAGE HORIZONTAL

September–October July–August 2019 WORSHIP AVL 47

TECHNOLOGY

This issue, we take a look at automated lighting fixtures, the pros and cons, and why their versatility can be an asset for houses of worship. Ledetta Asfa-Wossen covers the basics AUTOMATED LUMINAIRES CAN offer worship venues flexible and effective lighting to highlight services and enhance per formances and usually combine high output arc lamps with numerous features.

These types of light fixtures often include pan and tilt control as well as other controllable attributes such as focus control, shutters or irises, colour changing and mixing

as well as strobe control. To make matters even more confusing, some automated lights also fall under the ‘profile’ category and create spot beams similar to ellipsoidal lights.

What exactly is an automated luminaire?

More widely known as intelligent lighting, automated light fixtures refer to stage lighting that has automated or mechanical abilities beyond those of traditional, stationary light fixtures. They are also sometimes referred to as moving lights or moving heads.

How are automated lighting fixtures controlled?

Elation’s latest Fuze Spot luminaire

Most automated lighting fixtures are controlled via a lighting console that outputs a control signal. The control signal then sends data to the fixture, most commonly using the industr y standard DMX512 protocol.

48 WORSHIP AVL September–October 2019

What is the DMX512 protocol?

DMX is essentially how your lighting equipment gives and gets its instructions.

DMX512 allows users to control a variety of lighting products using any number of different lighting controllers. Further Ethernet-based standards (Art-Net and sACN) also allow for the transmission of DMX512 data through networking infrastructure and devices. These fixtures can be programmed in advance or be controlled live onstage remotely.

Because lighting control manufacturers use DMX512 so widely, a basic understanding of DMX will be incredibly useful for any volunteer technician expected to work with automated lighting fixtures in a HOW. The DMX stands for Digital Multiplex and is a standard for digital communication networks that are commonly used to control stage lighting and effects. It was originally intended as a standardised method

Robe’s T1 Profile has been designed with houses of worship, theatre and broadcast in mind for controlling light dimmers, which, prior to DMX512, had employed various incompatible proprietary protocols.

What are the benefits of using automated lighting fixtures?

Automated lighting has come a long way since the first reported ‘intelligent light’ back in 1906 in Kansas, USA, that was operated not by motors or any form of electronics but by cords that were operated manually to control pan, tilt and zoom.

A recent performance at Harris Creek Baptist Church in Texas used over 30 Chauvet automated lighting fixtures

A beginner’s guide to automated lighting

TECHNOLOGY As far as lighting fixtures go, they are considered fairly low maintenance and can leave volunteers free to focus their attention on another area as they are pre-programmed.

Many automated luminaires also offer control now via a laptop, phone or tablet. They can also be an economical option to use as part of a wider lighting scheme. You can also now achieve a number of special effects with automated lighting.

Top tips for considering automated lighting 1.

What are some of the cons?

Ayrton’s Diablo-TC profile spot offers a 14,000-lumen output

Too many automated lighting products can equal too much choice. There are thousands of automated luminaires on the market, even at every price scale. The key is to assess the features that matter to your particular application, from high output to clear optics and low AC power draw to the quality of beam and intensity.

from a number of gobos – some even include two gobo wheels and rotation features to animate your lighting.

Many automated lighting fixtures will include a prism ef fect to add dimension and enrich movement and coverage too.

Most intelligent fixtures will include either a colour wheel or a colour-mixing feature built in to allow you to create custom colours by adjusting dif ferent colour filters.

Perhaps, more impor tantly, automated lighting options can be used in a ver y versatile way to add light into any house of worship at multiple points and often tricky stage angles.

What are some of the effects that you can achieve with automated lighting?

Automated lighting fixtures can often include zoom capability which allows you to change the beam spread, or a wheel that allows you to choose

Consider energy efficiency when selecting an automated fixture. Manufacturers are increasingly working on reducing power draw which could offer your HOW venue more long-term cost benefits. Lighting can be costly for both a HOW and the environment. Some of the latest generation of LED lamps are very efficient and a few even claim to use up to 90% less energy than traditional lighting sources.

2.

If noise is a factor, make sure to check the automated luminaire comes with a reduced noise component, as this is not a guaranteed feature for all automated luminaries.

3.

Note the differences between quality and price and what your venue is happy to compromise on

based on your HOW’s budget.

4.

Work with your lighting consultant to produce a design brief of your specific needs and what you need to achieve. It’s also a good idea to specify in detail what features in the HOW need to be well-lit, such as wall paintings, the organ area, choir, stage or pulpit/ lecturn.

5.

Finally, trial it first. Book a demonstration and make sure you trial your specified lighting setup with a consultant. Get familiar with the wiring and/or maintenance process too.

Is the colour temperature, position and power output as your HOW needs it to be? All these factors can be verified or dealt with by conducting a simple trial run.

LivePremierTM series

1/2PAGE HORIZONTAL The fully scalable and modular

4K/8K live presentation systems, delivering memorable presentation experiences to captivate your congregation.

Powerful ® Versatile ® User-friendly

www.analogway.com September–October 2019 WORSHIP AVL 49

BUYING GUIDE

Light and effect With the right lighting console, special effects can create a mesmerising experience for worship congregations. Ledetta Asfa-Wossen seeks advice from the experts

ETC’s compact Ion Xe console comes with up to 12,288 outputs A LIGHTING CONSOLE CAN CONTROL a small number of fixtures to a full universe of DMX lights. Added to that, comes a copious amount of options, from what software to use to the number of faders needed and a whole raft of special effects.

Here’s what to consider when it comes to lighting console special effects.

Great music performances have become an essential part of many worship services, and lighting console special effects can help musicians deliver more powerful moments to worshippers.

‘There are a number of options when it comes to lighting console special effects,’ says David Hilton, product marketing manager at ETC. ‘Colour chases, either fast or slow, can really set a mood onstage that is in tune with the music. Fast intensity pops can make the crescendo of a song have a tremendous impact. And moving light ballyhoos that pan and tilt over the congregation can make them feel truly connected to all the action onstage,’ adds Hilton. ‘A good

be ease-of-use. ‘A lot of HOW venues all across the world are known to have the heavy support of volunteering staff who need to understand how the equipment works to run sometimes quite complex events. The ability to have simplified control while still packing a serious punch for a feature set is important. Another major factor is time. We know a lot of HOW venues that have the tightest of turnaround times between services – so programming and set up time is sometimes very short.

A lighting console that provides HOWs with as many “ready-to-go” preset functions, effects and looks can assist in keeping workload manageable,’ explains Tyler Holpin, Zero 88’s UK and international sales manager.

Some basic types of lighting effects to look out for, notes Hilton, include relative, linear, absolute, step-based and video effects.

Relative-based effects enable the user to draw a shape, like a circle or figure of eight, and then implement that shape relative to a position. This is a great tool for motion-based effects like ballyhoos. A lighting technician or volunteer can simply draw a circle on the console, point the moving lights where they want the centre of the circle to be and offset this circle chase to create impressivelooking ballyhoos.

Linear effects can also enable the user to choose a parameter, like intensity or zoom, and have it

lighting console not only creates these effects, but they make it easy for any programmer to execute quickly, allowing them to replay them in cues, buttons and faders.’

According to Hilton, lighting consoles that offer the end-user with more ‘intuitive’ special effects, while giving users access to on-the-fly control of both the speed and size of the effects, should be a key consideration for any HOW. ‘Consoles such as ETC’s Eos family can even set a beats per minute rate to be in perfect sync with the music. It’s almost like the lighting programmer is another member of the band,’ says Hilton.

Another key factor for HOWs exploring lighting console special Zero 88’s portable FLX range is specifically designed for multipurpose, HOW and education venues effects should

50 WORSHIP AVL September–October 2019

BUYING GUIDE dynamically change relative to a custom sinewave curve, which can be a great way to achieve colour chases.

‘Absolute effects are both unique and power ful. You simply choose pre-built palettes, or looks, organise them in a list, then offset them on the channels they choose.

This is an extremely fast way to make precise colour chases, while step-based effects are built from states that turn on and off in sequence. It is also a per fect way to make waves or marquee chases from a series of lights,’ describes Hilton. ‘A virtual media server effect can provide you with a video-based effect where you can orient different lighting fixtures on a virtual video screen and run lowresolution video across them.’

With more and more HOW venues acquiring extensive kit, which in turn comes with increased functions and abilities, having a lighting console that works alongside any equipment is crucial.

The Eos Ti is the most powerful member of ETC’s Eos family However, along with the clear and present value of lighting console special effects, come the fads and misconceptions. For instance, Holpin warns that ‘many users still believe that to achieve “rock and roll”-type lighting effects onstage, you have to go for a high-value, top-end lighting console’, which of course eats into HOW budgets,

Lighting control software such as Avolites’ Titan v11 works with current lighting consoles ‘Special effects, or as we would deem them, “automatically generated effects”, can provide HOWs with so much flexibility. If you take, for example, a rig full of moving lights, getting them all just moving around the stage in what sometimes looks like a “random” state can seem like it would have taken ages to program. Adding to that, putting a “rainbow”-type effect on the same lights, to some, can seem impossible. Opting for a lighting console that can achieve this within 3–4 presses of a button and automatically generate effects is a massive timesaver,’ says Holpin.

One increasingly popular trend that shows no signs of slowing down and seems to cross various technologies across multiple industries is

smartphone compatibility and it’s one that Holpin believes will continue to be a desirable lighting control feature.

‘A massive trend we are seeing at the moment is the ability to control our products, and any product for that matter, via the device we all have in our pockets. Nearly all users of our products will have a smar tphone, and likely some kind of tablet that they like to use to expand the functionality of the control desk. A smar tphone can be easily connected to the lighting console to provide a remote to control your lighting while out focusing or rigging, and a tablet can be connected to provide the user with an external touchscreen monitor for the console,’ continues Holpin.

52 WORSHIP AVL September–October 2019

when actually there are smaller lighting consoles that can provide worship venues with the very same level of special effects. But, like any purchasing decision, true value only comes in doing your research beforehand. www.etcconnect.com www.zero88.com

NEWPRODUCTS

PRODUCTS

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

A-ZCONTENTS BRC-X400

NDI arrives at Sony NDI capability has come to Sony’s PTZ cameras for the first time thanks to a new partnership with NewTek SONY HAS announced a collaboration with NewTek to add NDI | HX suppor t to its BRC-X400 4K PTZ camera. NDI operates on a standard gigabit network and can be received and processed by software on computer systems. ‘With the industr y clearly moving towards IP and computerbased technologies in practical, costeffective applications, we see new and exciting oppor tunities for our customers.

Sony suppor t of NDI | HX in the new BRC-X400 4K PTZ camera was driven largely by customer demand for NDI,’ said Sony’s Hiroshi Kawano.

The NDI | HX option is said to provide flexibility in IP-based live production systems when combined with other NDI-compatible hardware or software, anywhere on the network. Connection via a single IP cable repor tedly ensures an efficient live production setup including power supply, image output as well as camera controls.

In addition, Real Time Streaming Protocol and Real Time Messaging Protocol are also suppor ted.

Adamson

S7/S118/S7p/S10p

59

AJA

Ki Pro Go/openGear converter cards

64

Allen & Heath dLive Wings/C1500

57

Analag Way

Picturall Quad/Picturall Twin

55

Ayrton

Levante-S and Levante-TC

67

Blackmagic Design DaVinci Resolve 16

56

Bose

60

DesignMax/PowerSpace/PowerShare

Broadcast Pix RCC

56

Calibre

AiO LED display/SmartBrick

56

Chauvet

Maverick MK3 Profile and MK3 Spot

65

Christie

DS Series

57

Claypaky

Xtylos/Axcor Wash 600/Mini-B/CloudIO 66

d&b audiotechnik B8-Sub/Bi8-Sub/ArrayCalc Exchange

58

disguise

vx 4/r15.2

55

DPA

4097 Core

59

Elation

Proteus Maximus/Fuze Spot and Profile CW 67

Focusrite

RedNet Control 2.3

63

GLP

FR10 Bar

63

HK Audio

Linear 7/Linear 3 additions

59

KV2 Audio

ESD Cube

58

L-Acoustics

Arcs A15 and A10/KS21

60

LD Systems

U500 IEM Series

62

Lectrosonics

ALP690/DCHT

62

Litepanels

Gemini 1x1 Soft

64

LSC Lighting

Mantra Mini/LED-CV4/MDR-DIN

64

Martin

Mac Allure Wash PC/VDO Atomic Dot

66

Powersoft

X4L/Loto/DSP-Lite ETH

58

PR Lighting

XR 1700 Framing/Venom/Tango Spot

66

Shure

TwinPlex/ADX Series

62

Sommer Cable SC-Silver Spirit

60

Sony

NDI | HX support for BRC-X400

54

Telemetrics

RCCP-2A

55

TVU Networks TVU G-Link

55

Yamaha

63

DXRmkII update/TF Series V4.0

The HDC-5500 and HDCU-5500

The BRC-X400 itself incorporates an Exmor R CMOS image sensor that is said to achieve natural colour reproduction and deliver 4K30p with minimum noise. The built-in 4K lens accommodates wide-angle shots up to 70° degrees and is equipped with 30x zoom capability in 4K with Sony’s Clear Image Zoom feature and 80x zoom capability in Full High Definition with Tele Convert Mode.

Sony is also introducing the latest member of its HDC family of 4K live camera systems. The HDC-5500 is a new multi-format live camera capable of direct 4K signal output in 12G-SDI and carries 2⁄3-inch 4K global shutter three CMOS high-quality images in HD, 4K and HDR live productions.

54 WORSHIP AVL September–October 2019

Optional software achieving high frame rates of up to 4K 2x and HD 8x will also be available.

Meanwhile, the HDCU-5500 is a half-rack size new camera control unit to be used with the HDC-5500. It provides both 12G-SDI 4K output and IP interfaces, SMPTE ST 2110 and NMOS IS-04/05 via hardware options.

The HDC-5500 and HDCU-5500 are connected through a single fibre cable without a base band processor unit and reportedly offer ultra-high bitrate transmission that carries two channels of 4K signals at a time.

In other news, there is a new update to Sony’s UWP-D series wireless microphone systems.

The series now suppor ts Multi

Inter face Shoe and includes a new NFC Sync feature that repor tedly gives users a simple and fast frequency setting between the transmitter and the receiver. The microphones have been reduced in size and weight. From October, the following will be available: the UWP-D21, with the URX-P40 portable receiver and the UTX-B40 bodypack transmitter; the UWP-D22, incorporating the URX-P40 and the UTX-M40 handheld wireless microphone; and the UWP-D26, integrating the URX-P40, the UTX-B40 and the UTX-P40 plug-on transmitter. www.sony.com

PRODUCTS

More camera customisation Augmented video playback from Telemetrics TELEMETRICS HAS launched the next generation of its Remote Camera Control Panel, the RCCP-2A. The new version is said to take user configuration and ease-of-use for operators to ‘a whole new level’ by adding a fully customisable user interface with features including new ‘Telekeys’ that automatically adapt to what a user is doing in real-time.

The RCCP-2A’s illuminated dynamic graphical TeleKeys change to show options relevant to the operator’s task at hand, while robotic cameras can be operated with its customisable joysticks, wheels and knobs, elevating columns and OmniGlide roving pedestals.

Additionally, six TeleKeys on the top row of the main button panel automatically present userdetermined and commonly used functions related to the current operation. A separate group of Hot TeleKeys provides access to favourite camera angles and other system parameters for on-the-fly changes and individualised program settings.

The RCCP-2A can also store and recall specific projects or individual user preferences as profiles to help manage production workflows and streamline camera control operations. www.telemetricsinc.com

vx 4 ENGINEERED TO play back video at higher resolution, disguise’s new vx 4 media server claims to offer up to four times uncompressed 4K60, using its NVME RAID drive array.

As well as the capability of playing lossless 10-bit video, the server can also capture 16 3G-SDI sources or four 4K sources (2160p60).

With the introduction of r15.2 and the vx 4, disguise can now support HDR workflows and provide a means of applying colour profiles. The vx 4 also offers users a choice of content quality using ‘industry-recognised codecs’ and has ‘improved network bandwidth’ with dual 25GbE and dual

10GbE ports, enabling quicker media file transfer and networked live video capture.

The vx 4 comes with a crossbraced stiff chassis and isolated core components and features a hi-res OLED front panel for more detailed system information. The server also includes disguise’s VFC technology, which allows users to output DisplayPort, DVI, SDI or HDMI without changing the system, as well as mix signal formats and resolution types in the same project, with frame synchronisation and near-zero latency. www.disguise.one

Picturall gets smaller ANALOG WAY is shipping new compact versions of its Picturall Quad and Picturall Twin media servers. Providing the same playback performance in a 2U chassis, the Picturall Quad Compact and Twin Compact models incorporate version 2.7 software. Among its feature set, v2.7 adds support for the HAP video codec family, while introducing the AWX proprietary video codec that offers optimised playback for very high resolution and bit rate content for multi-screen and largescale LED wall applications.

Incorporating four 4K at 60Hz 10-bit outputs for playback of up to 12 layers of full HD or three layers of 4K at 60Hz video with the new AWX codec, the Quad Compact 4K media server is designed for

large-scale events and applications.

For medium-sized events, the Twin Compact is a more cost-effective 4K media server with two 4K at 60Hz 10-bit outputs delivering a playback performance of up to eight

layers of full HD or two layers of 4K at 60Hz video with the new AWX codec.

Both compact models offer up to four optional inputs (HDMI 1.4, HDMI 2.0, 3G-SDI or DVI) in addition to a two-channel audio interface with balanced XLR outputs. Sharing the same core features as their larger Picturall media servers, the compact versions operate on the same Linux-based software engine with the same control solutions. www.analogway.com

TVU Networks goes live

DESIGNED FOR HOWs looking to send live HD video from point to point, TVU Networks’ G-Link is an internet-based solution that only uses the internet to deliver HD video from one location to another with half-second latency. It runs on TVU MediaMind servers, with two servers

paired together to form a link.

The MediaMind servers are video hardware decoders designed for the centralised viewing, control and distribution of live video content.

Within G-Link, one server acts as the transmitter/encoder and the other as the receiver/decoder. The

servers support a range of input and output source types and reportedly remain securely connected regardless of the distance between them. The transmitter server takes incoming transmissions from any TVU Networks’ transmission device, as well as SDI video input, or

external IP video and sends footage to the receiving server, which then outputs in SDI and IP formats in high resolution. The receiver can also output directly to social media platforms such as Facebook. Key features include the configuration of encoding and decoding; the ability to view the encoding/transmission status of each link; and both local and central control. www.tvunetworks.com

September–October 2019 WORSHIP AVL 55

PRODUCTS

Blackmagic meets its deadlines

BLACKMAGIC DESIGN has announced the release of DaVinci Resolve 16, an update that adds a new cut page for HOW technicians that need to work quickly and are on tight deadlines. The cut page lets users import, edit, trim, add transitions and

titles, automatically match colour and mix audio. The regular edit page is still available so customers can switch between edit and cut pages to change editing style in the middle of a job.

Blackmagic describes the cut page as challenging the traditional way of

working with familiar concepts such as source tape mode and an A/B trim tool.

‘The cut page isn’t about simplification, it’s about removing the things customers don’t need and building powerful, professional tools that help customers work more quickly. And, sometimes, it means borrowing the things that were great about the past and bringing them into the future.’ When users click on the source tape button, all of the clips in their bin appear in the viewer as a single long ‘tape’. This reportedly makes it easy to scrub through all of the shots, find the parts they want and quickly edit them to the timeline.

The new cut page also features a dual timeline so users never have to zoom in or out. The upper

timeline shows customers the entire programme, while the lower timeline shows them the current work area.

Both timelines are fully functional so that clips can be moved and trimmed in whichever timeline is convenient.

DaVinci Resolve Studio 16 features improvements to existing ResolveFX, along with several new plug-ins for adding vignettes, drop shadows, removing objects, adding analogue noise and damage, chromatic aberration and stylising video. The scanline, beauty, face refinement, blanking fill, warper, dead pixel fixer and colourspace transformation plugins have also been updated. The public beta is available for download on the Blackmagic Design website. www.blackmagicdesign.com

Precision encoding CUSTOMISED TO control different types of cameras or support gear – including PTZ cameras and robotic heads – Broadcast Pix’s RCC can be used with any BPswitch integrated production switcher, Broadcast Pix Commander touchscreen control platform or production switcher from another manufacturer. RCC features a high-quality precision encoder

and includes native IP support for Panasonic and Sony PTZ cameras.

Support for other cameras and robotic heads is available as a separate software option.

An integrated 7-inch touchscreen provides menu navigation to cameras, shot presets, camera settings and system setup. Users can also customise the number of

cameras and camera presets they need, as well as camera and preset shot names for easy recall.

According to the manufacturer, the compact RCC has a durable, machined aluminium chassis. Its three-axis joystick with adjustable zoom speed and one-touch auto focus reportedly allows for a smooth, precise control for shots. RCC also adjusts focus, iris and white balance. www.broadcastpix.com

Easy installation CALIBRE HAS recognised the challenge of installing LED-based screens and developed the AiO (Allin-One) LED display in association with its sister company, Optoma.

With a reported installation time of less than an hour, the display can be fitted in three steps: join the two frame modules together, attach them by tightening the screws and installing the individual LED modules.

The A118 is a 118-inch, 1.8mm pixel pitch LEDFusion and weighs 116kg; the QUAD130 is a 130-inch, 1.5mm pixel pitch unit weighing 125kg.

Both displays are 38mm deep. The AiO also benefits from Calibre’s proprietary HQUltra halo-free, lowlatency scaling and HQUltraFast input switching. In standby mode, the display uses less than 0.5W. In related news, the company has released its LED SmartBrick which is based on the aspect ratios of 48:9, 96:9 and 72:9 rather than

AiO LED wall the industry standard form factors of 16:9, 5:4 and 4:3. With the possibility of arranging the displays in almost any configuration up to the limit of the media player, they can be deployed in a broad range of digital signage applications and are particularly suited for insertion on shelf edges. The SmartBrick family comprises the SB-300, SB-600 and SB-900D with resolutions of

56 WORSHIP AVL September–October 2019

240x45 (300mm x 56.25mm), 480x45 (600mm x 56.25mm) and 720x90 (900mm x 112mm), respectively. All feature 1.25mm

HQPro1000

pixel pitches for close-up viewing.

Other features include 600 NITs of brightness, a colour gamut that is 110% of NTSC, a contrast ratio of 4,000:1 and a 160° viewing angle.

Connectivity is via HDMI or LAN, with wireless as an option.

Calibre has also added to its HQPro 4K scaler–switcher range with the HQPro1000, which features a modular architecture for ‘optimum upgradability, seamless switching and support for multiple sources and layers’. Scaling is provided

by HQUltra technology supporting 4K50/60 4:4:4 RGB formats. www.calibreuk.com

PRODUCTS PROJECTS PROJECTS

Lighter and quieter monitors monitors are are hung hung above above the the doors doors serving serving as as entrances entrances to to the the stage stage from from both both the the left left and and right. right. Another Another CDD8 CDD8 has has been been installed installed at at the the main main CHRISTIE entrance. entrance. HAS launched its DS Series of ‘lighter and quieter’ 3LCD laser projectors with a 4,000,000:1 contrast ratio. The products feature 360° orientation, input/output options including HDBaseT, low maintenance, and up to 50,000 hours of operation and a five-year warranty, whichever comes first.

The LWU900-DS and LHD878-DS are mid-brightness ‘Since ‘Since the the church church ceiling ceiling had projectors that deliver 9,000had andaa height heightlumens, of of more morerespectively. than than 12m, 12m, the the major major 8,775 They are challenge challenge was was to to fly fly the the system system suited to medium-to-large spaces as ashigh-ambient rigging rigging and and hardware hardware had had to to be be or light environments fabricated,’ fabricated,’ explains Hilton.

Hilton.

‘The ‘The where higherexplains brightness is required. church church isis designed designed with a gothic gothic The projectors acceptwith 4K aat 60Hz style style architecture architecture and and caters caters to to signals, have built-in edge blending around around 3,000 3,000 people people on onaaverage. average.

ItIt and warping, and feature low-power has has an an‘The area areapatented of of approximately approximately 325m 325m22 mode. optical engine and and features a wooden wooden altar and and in thefeatures ChristieaDS Series altar is more stained-glass stained-glass windows. windows.

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the energy on the phosphor wheel, which improves the reliability of the phosphor wheel,’ explained Brad Martin, product manager at Christie.

The LWU755-DS is also a midbrightness 3LCD laser projector designed for smallto-medium applications.

It delivers 7,550 lumens along with built-in edge blending and warping, and advanced colour management. Available in black or white and featuring omnidirectional capabilities, the The The view view from from below below the the balcony balcony LWU755-DS projector is ideal for tight have have been been working working with with Martin Martin Audio Audio spaces. for for long longmodels time, time, we we were were able able to to use use Allaathree provide integration the the Display Display 2.3 software software to make with control 2.3 systems suchto asmake AMX sure sureCrestron, that that we we placed placed the speakers speakers at and and arethe equipped withat the the appropriate appropriate height height to get get even even LiveViewer so users canto share audio coverage coverage throughout the the room, room,their as as and videothroughout content directly from well well as as aa dbx dbxlaptop Venu360 Venu360 loudspeaker loudspeaker computer or to the projector via management management system system(optional that that was wasUSB able able the LAN or wirelessly to to help helprequired). us us set set crossover crossover and and achieve achieve dongle near near perfect perfect equalisation equalisation which which was was expected expected from from our our side.’ side.’ www.christiedigital.com

dLive goes ultra-compact with Wings

dLive Wings ALLEN & HEATH has been showcasing its ultra-compact dLive touring systems based on dLive Wings. also Central to this concept is Zoodio Zoodio alsoequipped equipped Divine DivineMercy Mercy theseveral C1500microphones. surface, whichFive allows with with several microphones.

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With With congregants congregantsfilling fillingthe thepews pewsof of Divine DivineMercy MercyChurch Churcheach eachand andevery every

‘Going from a 36-fader surface to a 12-fader C1500 or a touchscreen can seem daunting at first,’ commented Ben Morgan, dLive product manager. ‘But with a bit of week, week,the the sound sound system system doing doingits its planning and smart use ofisis SoftKeys, job jobin inensuring ensuring everyone inside insidethe the it’s amazing howeveryone quickly engineers sanctuary sanctuary can can hear hearconcept clearly. clearly.In Infact, fact, embrace the Wings and Father Father Noronha Noronha noted notedIt’s that that Zoodio’s Zoodio’s the freedom it brings. a flexible, work workand andrig, the thewith new newthe sound sound system system has compact same power has more more thandLive met metsystems, his hisexpectations expectations and and as all than our but easily will willserve serveatthe the church churchand for forflown years yearson to toa checked baggage come. come. commercial flight.’ standard www.martin-audio.com www.martin-audio.com www.allen-heath.com www.zoodiopro.com www.zoodiopro.com

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July–August July–August 2019 2019 WORSHIP WORSHIP AVL AVL 27 27 September–October 57

PRODUCTS

Powersoft gains added X-factor POWERSOFT’S X SERIES amplifier range, which includes the eightchannel X8 and four-channel X4 models, has grown with the addition of the X4L. This new amplifier, much like its sibling the X4, also offers four channels and is designed to deliver the output voltage required by the latest generation of high-performance loudspeakers on the market, in particular woofers with high SPL requiring an equally high voltage.

Designed to deliver a peak of up to 300V, the power of the X4L is described by the Italian manufacturer as translating to a ‘more audible impact from the music itself’.

As modern high-performance loudspeakers are decidedly reactive, a lot of the energy they receive can be recycled as it is returned to the amplifier, saving between 2–4dB. This ability has been instrumental in making the X4L viable, according to Powersoft.

When put to use in applications not requiring quite so much power, the X4L reportedly has the ability to drive more cabinets in parallel in comparison to other solutions, saving time during system set up and truck space on the road, as well as on costs. Five output connectors

X4L

Loto allow for configuration flexibility, for example, driving a cardioid sub system with channels one and two, while channels three and four power two-way front-fills simultaneously.

‘In such a configuration, the X4L is capable of giving 1dB more power

to the two most power-demanding channels, which in this case would be the sub channels,’ explained Powersoft product manager, Klas Dalbjörn.

Powersoft has also released a new OEM solution in the form of

Loto, a one- or two-in/four-out processing board to add advanced DSP functions to powered products.

Two versions are available: Basic and Advanced. Both versions feature the same characteristics as the X Series platform, offering parametric raised cosine filters, custom FIR and IIR equalisers, as well as TruePower, RMS and peak limiters, Active Damping Control and live impedance, all of which are managed using ArmoníaPlus.

A pair of AES3 digital inputs stream into Loto via XLR connectors, while Dante digital audio networking architectures are supported with two inputs and two outputs.

Additionally, Loto is compatible with Digimod PFC2- PFC4, IpalMod, the Litemod family and Minimod4 amp modules.

Speaking of the LiteMod Series, MiniMod4 and DigiMod PFC2/PFC4 amp modules, Powersoft’s new DSP-Lite ETH, a one- or two-in/ three-out processing board, has been built for use with them.

Its compact interface panel is compatible with mono-in/link-out or stereo-in configurations. www.powersoft-audio.com

d&b orders a bite-sized sub KV2 goes ultra-compact

B8-Sub D&B AUDIOTECHNIK is describing the new B8 ultracompact subwoofer as a bitesized sub with good reason.

It stands at a height of just 170mm, while providing a lowfrequency extension down to 43Hz. While it can be flown as an accompaniment to small mid/ high d&b loudspeakers, the B8 can also be concealed in tight spaces beneath stages, stairs or ceilings, and works horizontally and vertically.

Designed to pair with d&b’s xC-, xS- and E-Series loudspeakers, the

B8 is available in two variants. The B8-Sub is intended for mobile and touring applications, while the Bi8-Sub is built for fixed installations. With a pair of 6.5-inch drivers and ferrite magnets housed within a bass-reflex cabinet, the B8 subs achieve a low-frequency extension from 170Hz down to 43Hz. The subwoofers can be powered by all current d&b amplifiers for a maximum SPL of 122dB. It’s not just subwoofers that d&b is working to streamline though, as the German manufacturer has made its workflow more efficient with the launch of the ArrayCalc Exchange software. ArrayCalc Exchange converts CAD and EASE files into an ArrayCalc venue file (.dbacv) that can then be imported to the ArrayCalc simulation software. www.dbaudio.com

58 WORSHIP AVL September–October 2019

KV2 HAS devised its most compact loudspeaker to date with the ESD Cube. The passive 5-inch loudspeaker adopts a trans-coil design for deepened vocal reproduction, extended high-frequency response and lower distor tion.

The trans-coil Active Impedance Control technology, already deployed in a number of KV2’s products, has been upgraded in the Cube to improve phase response and range.

According to the manufacturer, the ESD Cube may be used as a standalone system with up to eight Cubes powered by a single ESP1000 amplifier or with the ESD1.10 single 10-inch passive subwoofer for applications requiring more low-end reinforcement. One ESP1000 amplifier will run up to four Cubes and two ESD1.10s. A proprietar y flying bracket completes the system for a low-profile look and more convenient installation.

Housed in a durable aluminium enclosure with a wear-resistant polymer coating, the ESD Cube comes in any RAL colour, making it suitable for applications requiring discreet, high-quality peripheral and/or distributed sound reinforcement such as houses of worship.

The speaker delivers 116dB sustained output (119dB peak) in addition to a wide dispersion (80° x 80°). The dense yet light enclosure design also makes the speaker appropriate for use in ceiling-mount, front-fill, in-fill or under-balcony applications. www.kv2audio.com

PRODUCTS

S7 premieres in Adamson’s S-Series ADAMSON HAS expanded its tourgrade S-Series range of loudspeakers.

The new S7 ultra-compact, two-way, full-range line array enclosure contains two ND7-LM16 Kevlar neodymium drivers (16Ω each) and an NH3-8 1.4-inch exit compression driver (8Ω).

A slightly curved wavefront is produced by the critically optimised sound chamber, with a nominal dispersion pattern of 100° x 12.5° (HxV). The

chamber has been built to allow for increased vertical dispersion without sacrificing high-frequency presence in the farfield, while the manufacturer’s Controlled Summation Technology eliminates low–mid lobing.

Complementing the S7 on the lower end of the frequency spectrum is the S118 subwoofer. This enclosure features a lightweight, long-excursion, 18-inch ND18-S Kevlar neodymium

S118 driver that makes use of Adamson’s Advanced Cone Architecture, in addition to a 4-inch voice coil for power handling.

Both the S7 and S118 include the SlideLock Rigging System first employed on Adamson’s S10. This facilitates simple suspension without the need for a stacking pin. A single

S7

technician can reportedly prep and fly an entire array.

It’s not just line arrays that Adamson has been focusing its attention on.

The new S7p and S10p are two-way, full-range point source cabinets. They each include an NH3-8 1.4-inch exit compression driver (8Ω) and, while the S7p features dual ND7-16 low–mid drivers (16Ω each), the S10p has two pairs of ND10-LM low–mid drivers. The prolate spheroidal waveguides of both point source units produce a nominal dispersion pattern of 70° x 40° (HxV), rotatable in 90° increments. This waveguide design aims for an equal tonal balance when moving outside of the intended coverage pattern. www.adamsonsystems.com

DPA sings in the choir

HK Audio’s next Linear step

DESIGNED SPECIFICALLY for house of worship and choir applications, DPA’s 4097 Core supercardioid choir microphone provides the same sonic qualities as the company’s d:vote Core 4099 instrument microphone and comes in both wired and wireless configurations. The mic features DPA’s flat off-axis supercardioid pattern with a high gain-beforefeedback to make the choir sound as natural as possible from all angles. According to the Danish manufacturer, if a sound engineer

LINEAR 7 is the latest family added to HK Audio’s Linear Series, which also includes Linear 3 and Linear 5.

There are five members of the Linear 7 family on launch: four mid/ high units and one subwoofer.

The L7 110 XA is a 10-inch powered speaker, while the L7 112 XA and L7 112 FA are both 12-inch powered enclosures with multipurpose housing and full-range housing with clustering angles being the differences. Then there’s the 15-inch, active L7 115 FA and the L7 118 SUB A subwoofer. All five units are Milan-ready and feature PowerCon connections. Linear 7’s Ethernet-controlled DSP technology can be used to control existing Linear speakers using an integrated DSP out. The subwoofer offers several cardioid presets, selected via a button on the enclosure.

uses multiple mics, the various parts of the choir can be mixed and blended together without having to fight the artefacts created from uneven mic pattern pickup.

‘We put a great deal of time into designing a sleek choir microphone that is smaller than other mics of its kind, and has a light and elegant look at the same time,’ said René Mørch, product manager, DPA Microphones. Configured with a MicroDot connector and a DPA adapter for wired or wireless,

Meanwhile, HK Audio has released three new turnkey Linear 3 system packages, aimed at bands and DJs that wish to control their own live sound. The L3 Compact Venue Pack is suited to bands performing at small venues, the High Performance Pack powers performances for up to 500 people and the L3 Bass Power Pack is for DJs playing bass-heavy music for crowds of up to 250.

HK has also launched the first two units in its SI range: the P10i and P10j. These line source speakers each feature 10 3-inch drivers and are designed for installation in large rooms with long reverberation times and noisy indoor venues, as well as outdoor long-throw applications.

The SI line has also been developed for use in voice alarm systems, for water and weather resistance, and is available in more than 30 different colours. www.hkaudio.com

the 4097 allows the user to go wireless and have the flexibility of moving about onstage. The mic also features Core by DPA amplifier technology to lower distortion and expand the dynamic range. The 4097 includes three shock mounts to dampen any rumble caused by movement onstage. www.dpamicrophones.com

The Linear 7 family

September–October 2019 WORSHIP AVL 59

PRODUCTS

Bose Professional designs to the max COMBINING 10 loudspeakers and two subwoofers – including ceilingmounted, surface-mounted and outdoor-rated options – the DesignMax loudspeaker series ranges from 2-inch low-profile models to 8-inch high SPL loudspeakers. The surface-mount

wall. Enhancing speed of installation, QuickHold mounting mechanisms can adjust the pitch and lock the cabinet in place without using tools. Ceilingmounted models include Euroblock connectors, plenum-rated back cans, tile bridges and front-access audio

DSP options, the PowerSpace amplifiers have been designed to operate seamlessly with other Bose Professional loudspeakers, processors and control devices. Ideal for zoneexpansion applications, the P21000A, P2600A and P4300A models (2x1,000W, 2x604W and 2x300W, respectively) integrate a Bose AmpLink input. This input provides multiple channels of uncompressed, lowlatency digital audio from Bose digital sound processors. Versatile outputs are capable of delivering full channel power to either low- or high-impedance loads – without bridging – or double power to a single zone if required.

The 1U height P4300+ and P4150+ models (4x300W and 4x150W) come with built-in DSP.

Bose has also expanded its line of PowerShare amps with two Dante-integrated models (PS404D and PS604D) and two models with AmpLink connectivity (PS404A and PS604A). AmpLink is Bose’s in-rack Cat-5/6 digital audio distribution solution and is supported in its latest DSP units. The PS404D (400W divisible into four channels) and PS604D (600W divisible into four channels) feature integrated Dante audio networking for increased flexibility, giving installers the freedom to place the amplifier away from the source. The Dante models also allow mixed inputs using either digital or on-board analogue audio connections. pro.bose.com

DesignMax enclosures incorporate minimum bezel grilles, removable logos and aesthetic styling, allowing them to blend with the interior décor. The paintable cabinets are finished in black or white and include hidden U-brackets, allowing them to be installed closer to the

wiring. For these, QuickHold mounting arms spring into place when the loudspeaker is pushed into the ceiling opening to hold the loudspeaker as the installer completes the task.

Consisting of five power amplifiers with varying power levels and

PowerSpace

New L-Acoustics family L-ACOUSTICS HAS unveiled the Arcs A15 and A10 systems, and its companion KS21 sub. Inspired by the manufacturer’s X Series, the A15 Focus, A15 Wide, A10 Focus and A10 Wide, as well as the subwoofer, incorporate bended wood technology and are described as lightweight and sturdy.

Reportedly achieving a throw of up to 45m and a maximum output of 144dB, the speakers can be mounted on a pole, stacked or flown in a vertical or horizontal line source array. A15 and A10 systems incorporate configurable L-Fins

to adjust waveguide directivity.

They can be scaled to fit both large and small events, with the KS21, the company’s first 21-inch sub, extending the low-frequency bandwidth to 30Hz. For larger events, Arcs can be used as a fill or delay solution and a complement to larger K1 and K2 systems.

The A15 and A10 Focus and Wide enclosures were designed with LA4X capabilities and one-to-one ratios in mind. Each LA4X amp channel pairs with one A15, one A10 or one KS21. The one-to-one ratio extends to the A15 and KS21, where one

A15 Wide sub is recommended for each A15 enclosure. For the A10, the recommended loudspeaker-to-sub

ratio is two-to-one. Arcs also functions with LA12X amplified controllers.

The A15 Focus, A15 Wide, A10 Focus and A10 Wide are passive, two-way systems with a maximum SPL of 144dB, 141dB, 139dB and 137dB, respectively. The bandwidth for the A15 Focus is 41Hz to 20kHz; for the A15 Wide it’s 42Hz to 20kHz; and for the A10 Focus and A10 Wide it’s 65Hz to 20kHz. All four have 70°/110° symmetrical or 90° asymmetrical L-Fins. The KS21 is a bass-reflex sub with a maximum SPL of 138dB. The manufacturer has also announced updates to its Soundvision and LA Network Manager platforms. www.l-acoustics.com

Silver-plated connection GERMAN MANUFACTURER Sommer Cable has devised a silver-plated high-end instrument cable, the SC-Silver Spirit. The cable uses tightly, concentrically stranded class 6N (OFC 99.9%) copper wires, which are then refined and smoothed with a high-grade

silver alloy (935/1000) to deliver a ‘more lasting performance’ and can also be neatly processed with silver solder, without electrical losses.

The double-shielded cable (1x0.22mm²) has a flexible, yet

60 WORSHIP AVL September–October 2019

robust outer jacket of 7.4mm in thickness made of a temperatureresistant PVC compound, and is fitted with gas-foamed and smoothed wire insulation. Formulated for guitar, bass and other instruments,

the cable is appropriate for both stage use or as an unbalanced cable for keyboards, samplers, mixing consoles and hi-fi systems. www.sommercable.com

PRODUCTS

TwinPlex takes the stage Overcoming signal loss A NEW line of subminiature 5mm omnidirectional lavalier and headset microphones has been released

by Shure. Designed to stand up to tougher conditions, TwinPlex provides ‘natural audio’ at both high and low frequencies when professional vocal performance is required. The patentpending capsule technology is suited for the diverse needs of HOWs.

TL45 TwinPlex consists of four lavaliers – the TL45, TL46, TL47 and TL48 – and an ‘ultra-light’, adjustable headset microphone – the TH53 – and is available in multiple colours. A dualdiaphragm omnidirectional design claims to yield ‘off-axis consistency and low self-noise’. Available in 1.1mm and 1.6mm options, the paintable cables with redundant shielding are also said to be immune to memory effects, resulting in more flexible

performance use, while the capsules are fitted with a superhydrophobic coating and interchangeable sweatresistant frequency caps.

Shure has also released its AxientDigital ADX wireless transmitters. The ADX series offers enhanced features and form factors, including the ADX1 and ADX2 bodypack and handheld transmitters, ADX2FD frequency diversity handheld and ADX1M, claiming to be ‘the first micro bodypack with an internal selftuning antenna’.

The ShowLink-enabled transmitters offer real-time remote control plus automatic interference detection and avoidance, and are compatible with the Axient Digital receiver platform, Quadiversity, to provide high-performance RF, improved audio quality, command and control and hardware scalability. Quadversity mode enables users to place sets of diversity antennas in different zones or double the number of antennas in a single zone to improve RF signal-tonoise in challenging environments. A high-density mode can also increase the maximum simultaneous channel count from 17 to 47 per 6MHz band (from 23 to 63 per 8MHz TV band). www.shure.com

The ADX series

THE ALP690 from Lectrosonics has been developed for use with wireless microphone receivers or base station transmitters in video production. It is a UHF log periodic dipole array antenna with a built-in RF amplifier and delivers +4dBd of passive gain in a directional pattern to extend the operating range.

The ALP690 antenna is powered by a DC bias inserted on the coaxial cable connected to the 50Ω BNC jack. A Venue Series receiver, an active multicoupler or an inline BIAS-T can supply the power.

When no bias is applied, the ALP690 automatically switches via relays to function as a passive antenna. RF amplifier gain, filter bandwidth and display brightness are adjusted with a membrane switch keypad and LED display on the control panel.

Depending on the type and length of the coax cable, RF gain is adjustable in 1dB steps from –6dB to +12dB to match the RF. In other news, the manufacturer has unveiled the DCHT portable digital stereo transmitter as both a wireless audio link from a bag or cart system to cameras, or as a portable IFB transmitter paired with the Duet digital wireless M2R receiver packs.

The DCHT accepts two channels of mic or line level analogue signals or an AES digital signal from a mixer, and transmits to the receiver or receivers in a pure digital format.

The DCHT can tune across the available UHF TV band from

ALP690 470.100–607.950MHz (470.100– 614.375MHz for the export version) in 100kHz or 25kHz steps, offering more than 6,000 frequencies. The RF output can be set to 10mW, 25mW or 50mW to provide a flexible operating range. Input connections and settings are included for lavalier microphones, dynamic microphones and line-level inputs. www.lectrosonics.com

DCHT

Stage-ready in-ear monitoring LD SYSTEMS has launched an in-ear monitoring system aimed at bands and musicians. The U500 IEM Series is available as a set, with and without headphones, and comes equipped with switchable transmitting power of 2mW, 10mW and 30mW in order to meet countryspecific regulations. Designed to provide a more reliable signal transmission over a distance of up to 100m, the systems provide ‘unrestricted freedom of movement’ across any application.

There are 96 receiver channels available to offer mono or stereo operation as required. The in-ear

mix can be adjusted to fit via a three-band EQ with parametric mids.

In addition, the U500 systems allow for personalised username entry and storage of preferred settings in 10 preset memory locations.

62 WORSHIP AVL September–October 2019

Depending on the frequency band, up to 12 systems can be operated simultaneously.

The transmitter and receiver units are equipped with a high-contrast OLED display for use on dark

stages and under harsh sunlight, while the pocket receiver provides an operating time of up to 10 hours.

The U500 IEM systems are available for operation in various frequency ranges. The 470–490MHz, 514–542MHz, 584–608MHz and 655–679MHz bands permit running up to 12 systems simultaneously.

In the 823–832MHz and 863–865MHz ranges, six systems can be operated at the same time, providing wireless monitoring for the entire band. www.ld-systems.com

PRODUCTS

Thunderbolt strikes on RedNet Control THE LATEST version of RedNet Control is available to download from the Focusrite website.

Version 2.3 of the software introduces control over Thunderbolt for Red 4Pre, 8Pre and 16Line interfaces. The download is a free software update that unifies RedNet Control with configuration, status monitoring, metering and extended operational control.

RedNet now provides parameter control that includes clock source selection, sample rate converter configuration and reference level setup. All the functions of Red mic pres can be controlled from the software, such as gain, phantom power, phase invert, high-pass filter and air mode. Graphical control for

Red range units is separated into five pages: I/O control and metering, input routing, output routing, monitor control and custom mixes.

From the custom mixes page, RedNet Control's internal audio mixer allows for the creation of up to eight separate mono or stereo sub-mix signals. Up to 30 of all the available inputs can be selected as sources for the mixer.

Once selected, these input signals will then become available to all custom mixes. Furthermore, each mixer output can have an individual balance of fader levels, mute and channel pan settings.

In other news, Focusrite is offering Plug-in Collective community members a free licence

RedNet Control 2.3 for Sonarwork’s Reference 4 Headphone Edition software. The tool comes either as an audio plug-in for a DAW’s master channel or as a standalone tool that aims to flatten the frequency response

of a user’s headphone and remove unwanted colouration through the use of predefined profiles for specific models. www.focusrite.com

Updates galore YAMAHA HAS released a raft of updates to its systems and products.

First is the DXRmkII series of powered loudspeakers which has been redesigned to include a bigger neodymium 1.75-inch HF driver that delivers 1–2dB higher SPL than the existing series. The DXR15mkII can now reach 134dB maximum SPL, with an LF response down to 49Hz, while the DXR12mkII can also produce 134dB SPL with LF down to 52Hz. The maximum SPL for the DXR10mkII is 132dB SPL, with 130dB SPL for the DXR8mkII. As with the original DXR series, Yamaha collaborated with Nexo on the updated range.

TF Series V4.0 firmware adds a number of enhancements, including

The DXRmkII series

a Selected Channel View, scene fade time function for added scene management flexibility, additional mute groups, expanded support for DZR-D and DXS-XLF-D series speakers and a selection of new QuickPro Presets for a variety of

microphones, in-ear monitors and speakers.

The TF StageMix iPad app has also been updated, allowing control of playback from any recording to a USB storage device connected to the mixer. The TF StageMix update

also adds User Defined Button functionality to the iPad, and is said to provide enhanced remote-control versatility.

Rivage V3.0 adds the new DaNSe dynamic noise suppressor plug-in, bringing improvements to speech clarity for live applications. Other enhancements include Mix to Input routing and workflows for global paste, DCA assignment and Custom Faders.

CL and QL series mixers have also received a V5.1 firmware update that supports the Dante-equipped DZR-D series powered loudspeakers, and the Nexo NXAMPmk2. MTX/MRX matrix processors have also been updated to V3.31. www.yamaha.com

GLP goes linear

FOLLOWING IN the footsteps of its X4 Bar series, GLP has introduced the FR10 Bar, a linear format fixture with a new optical system.

Featuring a larger size output aperture that can also be found in

the impression FR1, the FR10 Bar contains 10 sources, each with a high output 60W RGBW LED that colour matches all the products in the manufacturer’s X4 and FR series of fixtures. It also includes

individual colour control, a series of built-in colour macros and a large selection of industry-standard colour filters.

The fixture has a 10:1 ratio zoom range of 3.5–35° but GLP believes that what separates the FR10 from any other product on the market is the ability to control each of the zoom lenses individually and independently. At its narrowest angles, the FR10 Bar reportedly produces clean, seamless flat sheets of light along with arrays of pinpoint beams of light. At wider angles, the FR10 Bar can wash areas and sur faces of stages, walls and cycloramas.

The FR10 Bar uses the same construction as the X4 Bar 20 along with the same rigging and interlocking systems. It also features 16-bit movement through a tilt range of 210°, while power and data connectors are housed within the base of each unit for daisy-chaining of multiple fixtures. The light can be rigged in any orientation and has built-in rubber feet for floor-mounting. It also comes with Neutrik True1 connectors and five-pin XLR connectors to support DMX and RDM protocols. www.germanlightproducts.com

September–October 2019 WORSHIP AVL 63

PRODUCTS

AJA on the go THE LATEST addition to AJA’s Ki Pro family is the Ki Pro Go, a portable, genlock-free, multichannel H.264 HD and SD redundant recorder/player that records video to off-the-shelf USB media. It comes in a 2U, half-rack form factor

2022-7 for redundancy in critical distribution and monitoring.

AJA has extended its family of Corvid audio and video I/O cards with the Corvid 44 12G, an eightlane PCIe 3.0 video and audio I/O card featuring support for

Ki Pro Go and can be used to record up to four channels of HD and SD content from SDI and HDMI sources.

Genlock-free recording reportedly eliminates the need to synchronise four input sources, while redundant recording provides multiple backups in the field to protect the recorded video. Video and audio input matrix channel mapping is said to simplify switching between physical inputs to the appropriate recording channel within the device’s UI from a mix of source inputs as needed.

AJA has also unveiled a raft of other products. Fourteen new openGear converter cards have been announced that combine the capabilities of the company’s Mini-Converters with openGear’s high-density architecture and support for DashBoard, enabling industry-standard configuration, monitoring and control in live event environments over a PC or local network on Windows, macOS or Linux.

The IPT-10G2-HDMI and IPT-10G2-SDI Mini-Converters are single-channel IP video transmitters for bridging traditional HDMI and 3G-SDI signals to SMPTE ST 2110 for IP-based workflows. Described as compact, quiet and rugged, both models feature dual 10 GigE SFP+ ports for facilities using SMPTE ST

Corvid 44 12G 12G-SDI I/O in a low-profile design for workstations and servers and 8K/UltraHD2/4K/UltraHD high frame rate, deep colour and HDR workflows. Corvid 44 12G also facilitates multichannel 12G-SDI I/O, enabling either 8K or multiple 4K streams of input or output.

Firmware updates include FS-HDR v3.0 which introduces enhanced colouring tools and suppor t for multichannel Dynamic LUTs; Desktop Software v15.2 which provides suppor t for Apple ProRes capture/playback across Windows, Linux and macOS in AJA Control Room, at up to 8K resolutions; HDR Image Analyzer v1.1 which includes a new web UI that repor tedly simplifies remote configuration and control from multiple machines; and Helo v4.0 which introduces new features that allow users to customise their streaming ser vice and improve monitoring and control. www.aja.com

openGear and its new converter cards

64 WORSHIP AVL September–October 2019

LSC goes mini LSC LIGHTING has added Mantra Mini to its Mantra range. It is a ninemodule, DINrail-mounted recording and playback unit that is said to offer all the functionality of Mantra in a simple-to-install package. Features include control of up to 48 fixtures across two DMX universes, and the ability to replay any show from a Mantra console or record something new via the offline editor. There is also a Wi-Fi access point built in for system configuration, a day/date time scheduler and remote triggering over Ethernet via UDP and OSC. Optional wall plates will be available later in the year.

Two new products have also been unveiled by LSC. First is the LED-CV4, a four-channel, 12V or 24V LED dimmer with constant voltage, a 5A per-channel output and is a true

16-bit dimmer controlled via DMX and configured by RDM. It has built-in short-circuit protection per-channel with auto-reset, current monitoring, variable frequency output and can be monitored and configured via the new LSC Houston X software.

Second is the MDR-DIN data distribution range, a new four-way, DINrail-mounted version of the MDR DMX splitter with RDM as standard.

Each port is optically isolated and it is available with either RJ45 or terminal connectors. Each output of MDR-DIN can be RDM-enabled/ disabled as required by the user. www.lsclighting.com

Lighting the action BUILDING ON the company’s Gemini 2x1 Soft LED panel, Litepanels has announced the Gemini 1x1 Soft, an all-in-one, cine-quality LED light that offers fullspectrum white light along with a full RGBWW light and reportedly delivers every colour in the 360° spectrum and plus/minus green adjustment.

Weighing 5.3kg and with a maximum draw of 200W, users can instantly switch the light from AC power to battery power, using V-Mount, Gold Mount or XLR output batteries.

Gemini 1x1 Soft builds on a foundation of daylight-to-tungsten light and is described as providing ‘accurate white light together with flexible and precise colour adjustment’. Four lighting modes are available: CCT Mode for true daylight and tungsten with fine tuning; HSI Mode to create any colour in the 360° spectrum; Gel Mode to dial up popular gels; and Effects Mode for a variety of lighting effects. DMX,

wireless DMX and Bluetooth control options are also available. The LED reportedly provides smooth dimming from 100–0.1% ‘with no flicker and no loss of colour consistency’. www.litepanels.com

PRODUCTS

Chauvet adds to Maverick series CHAUVET HAS added to its Maverick series. Both the Maverick MK3 Profile and MK3 Spot feature an output of more than 51,000 source lumens. The LED optics include CMY and CTO colour mixing, a 9:1 zoom ratio and an adjustable CRI from 73 to 93. Both lights include an animation wheel, two independent and overlapping prisms and two frost options (superlight and medium). The MK3 Profile incorporates a four-blade shutter frame system with a full blackout, 120° rotation and two gobo wheels (one rotating, one static). The MK3 Spot comes with three gobo wheels (two rotating, one static). In terms of weight and dimensions, Chauvet reports that the products are ‘lighter and more compact than any luminaire with a comparable output’. Both fixtures have a 6–54° zoom angle.

The Maverick Storm 1 Wash has become the first IP65-rated RGBW Osram LED moving head to join the Maverick series. Featuring a compact and rugged die-cast aluminium housing built with marine-grade stainless steel screws, it has an output of over 6,000 lumens and offers pixel-mapping effects and a

Maverick Storm 1 Wash

round ‘eyes’ or pixels. It is engineered with 12 square sections that can be controlled individually but appear together without separation and create a variety of colour control and pixel-mapping effects. The unit is IP65-rated and equipped with DMX and RDM protocols.

Lastly, COLORado Solo Batten 4 is an RGBAW four-cell LED batten with end-to-end colour mixing. It has four homogenised, individually controlled square sections that reportedly project smooth colour mixing without separation or dimmed lens corners.

The fixture is IP65-rated and can be used as a wash or for pixel-mapping effects. It includes IP-rated power, DMX and Ethernet connections, as well as a large, password-protected display.

Maverick MK3 Profile virtual gobo wheel. The RDM-enabled unit features 16-bit dimming and can be controlled via DMX, W-DMX, sACN and Art-Net. The Rogue R1 FX-B is said to have an infinite rotation of both pan and tilt from its five individually controlled heads, powered by five pixel-mappable 15W RGBW LEDs. Other features include 16-bit dimming of the master dimmer; built-in colour and tilt macros; continuous movement of pan and tilt functions; and a 7° beam angle and 11° field angle. Control is

achieved with DMX, Art-Net, sACN or Kling-Net. Chauvet has also expanded its COLORado range with the COLORado Solo Batten, which projects a single homogenised wash with smooth colour mixing, giving it the appearance of a bright single bar of light without

www.chauvetprofessional.com

COLORado Solo Batten

of Music, Sound and Entertainment Technology

an head

Matt Redm

ience 1/2PAGE HORIZONTAL

Exper p i h s r o W r Elevate You

t of Worship

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presented

by Yamaha

#NAMMShow

Get inspired to take your worship services to the next level! The NAMM Show returns to Southern California, uniting a global community of professionals across music, sound and entertainment technology. Make plans to attend and discover the latest products, new ideas and possiblities for your worship venue.

When you’re a one-man-shop, you don’t necessarily have an experience with everything. To be able to be exposed to new technologies and new solutions that’ll be a perfect fit for the next church you’re working with, it’s a great opportunity.

January 16–19, 2020 Southern California

Trent Perkins • Owner/Founder • Whole Hearted Productions

Register and book hotels starting August 2019 namm.org/attend

September–October 2019 WORSHIP AVL 65

PRODUCTS

Powered by laser CLAYPAKY HAS unveiled its first beam effect powered by laser. The Xtylos is a compact beam moving light that makes use of a patentpending, tailor-made laser source.

It features an RGB additive colour mixing, where coloured light beams are said to be as bright as a white light beam. The beam aperture is less than 2° and can be decreased further to 0.5°.

Features include two gobo wheels – with seven rotating gobos and 12 fixed gobos (including seven beam diameter reducers) – a wheel with three prisms and a 16-facet prism on a dedicated channel that can be overlapped with the prism wheel.

Xtylos The Italian manufacturer has also introduced the Axcor Wash 600, described as a versatile light designed to enhance the Axcor LED moving head range and, specifically, the Axcor Profile 600. The Axcor Wash 600 fits a four-blade framing system and is available with PC (standard), Fresnel or clear lenses. The three types are interchangeable and can be purchased separately. With a CRI of at least 90, the Axcor Wash 600 has a 55° wide beam angle and comes with CMY colour mixing, a linear CTO and two overlapping colour wheels with five colours each.

Mini-B Also new is the Mini-B, the smallest LED beam light ever made by Claypaky. Weighing 7kg and measuring 34cm, the Mini-B’s light source is based on 40W Osram RGBW LEDs and its central LED may be controlled separately from the external ring of LEDs. It features a wide zoom ranging from 4–55° and comes with more than 50 pre-installed effects/ colour macros, 2,500–8,000K colour temperature control, a 16-bit dimmer with four curves, an electric strobe at 25fps and Ethernet access.

Finally, CloudIO is a patentpending IoT device that provides technicians with complete diagnostics for Claypaky fixtures.

When the lights run checks after use, the unit collects data on hours of lamp life of each fixture, the conditions of various components in the units and updates firmware by connecting to the cloud. The CloudIO is equipped with a retrofit system, which allows it to be fitted to most of Claypaky’s lights. It has a 7-inch capacitive touchscreen and two in/out pass-through DMX connections so users can interface and communicate with up to 31 lights in series. www.claypaky.it

CloudIO

66 WORSHIP AVL September–October 2019

PR Lighting in the frame THE XR 1700 Framing is PR Lighting’s latest framing fixture based on the Osram Lok-it 1700/PS short-arc metal halide lamp. With a power consumption of 2,000W at 220V, the fixture includes double shutter blades (0.3–25fps), has a head movement of 540° pan and 270° tilt, and a light angle of 5–55°.

The dimmer is 0–100% linearly adjustable and the iris has 5–100% linear adjustment with macros. The light also has a 0–100% linear CTO system and DMX linear focusing.

Two six-facet prisms (one circular,

XR 1700 Framing one linear) provide bidirectional rotation with variable speeds. A double effects wheel also produces bidirectional rotation with variable speeds. Rated IP20 and weighing 52kg, the fixture has two individual frost filters (one light, one heavy) and comes with a DMX512 wireless

receiver and an optional DMX512 wireless transmitter.

At the smaller end of the spectrum is Venom, a 29.38kg fixture with a 420W cool white LED and an input voltage of 100–240V AC (50/60Hz).

It has a power consumption of 650W and a high-speed LED shutter/strobe effect with variable speed. With a light angle of 3–50° and a head movement of 540° pan and 270° tilt, the IP20-rated LED has a three-facet rotating prism with variable speed and direction, a frost filter and a linear motorised iris.

The final new fixture from PR Lighting is the Tango Spot, equipped with an Atria 620W white LED. An input voltage of 100–240V AC (50/60Hz) and a power consumption of 800W at 230V combine with an electronic strobe (0.3–25fps) and a linear dimmer from 0–100%. The LED comes with two prisms: one four-facet prism and one six-facet array prism that are both bidirectional at variable speeds and incorporate an index function.

The double layers effects wheel has independent bidirectional rotation at variable speeds and the iris has a 5–100% linear adjustment with macros. Rated IP65 and weighing 37.2kg, the Tango Spot has a DMX linear focus, a DMX linear zoom and an 8–56° light angle with 16-bit adjustment. It comes with a DMX512 wireless receiver and an optional DMX512 wireless transmitter. www.pr-lighting.com

Martin adds to Mac family THE MARTIN Mac Allure family of LED moving head fixtures has been strengthened with the addition of the Mac Allure Wash PC. The washlight variant of the Mac Allure Profile features an RGBW light engine with a seven-segmented beam control. With instant colour control and pixelated beam, the Mac Allure Wash PC is said to enable dynamic diffused projection and mid-air effects, and reportedly is the first washlight to include integrated, on-board P3 control that works in addition to industrystandards such as DMX, Art-Net and sACN. Designed to be safe with LED drivers that run the light

Mac Allure Wash PC

PRODUCTS

The sculptor of light using a monochromatic 5,700K light source with a native CRI greater than 90 and high TM30 readings.

Perseo-S is Ayrton’s first compact, multi-function, IP65-rated fixture developed for outdoor use and is described by the company as a waterproof version of the Ghibli luminaire. It has a 27,000-lumen output from a 500W source, calibrated at 8,000K, and weighs less than 40kg.

Features include a 7–56° zoom range, Two Levante luminaires have been released AYRTON HAS created a wash luminaire that can sculpt light and add a high-transmission diffusion filter to the zoom lens group to erase the edge of the beam without changing its angle. Levante is a miniaturised version of the Bora wash light and matches the dimensions of the manufacturer’s Mistral spot luminaire.

Levante weighs just under 20kg and has a light output greater than 20,000 lumens. Features include a barndoor module allowing shutters to be positioned across 100% of the surface area, a CMY colour mixing system, a variable CTO and a wheel with seven complementary colours. In addition, a 15-blade iris diaphragm and a wheel with seven indexable rotating gobos are supplied as standard. Levante-S has been designed for stage applications with an ultra-high output monochromatic 6,500K LED light source, while Levante-TC is geared for applications that require perfect colour rendition,

engine at high and precise refresh rates, the compact 17.6kg design promotes use in smaller spaces, reducing concerns about truss loading constraints.

Martin has also expanded its Creative LED VDO product line with the VDO Atomic Dot fixtures. The lighting and video fixtures feature control via P3, DMX, Art-Net or sACN to eliminate the need for additional interface boxes and have been designed to produce a ‘punchy’ white light in two dedicated colour temperature variants: CLD and WRM. A videocontrolled Aura backlight and a bright strobe/blinder have been

Lighting to the Max THE IP65-RATED Proteus Maximus from Elation is a 50,000-lumen wash/beam and profile LED luminaire with a 950W, 6,500K LED engine and a 180mm front lens. The package comes with six rotating and seven fixed glass gobos, a full animation wheel, dual prisms, dual frost and a high-speed iris. The indexable framing system reportedly provides full blackout shutter cuts for accurate beam shape control, while the fast zoom ranges from 5.5–55°.

Elation has also added three new Fuze fixtures to its catalogue.

Fuze Spot, Fuze Profile and Fuze Profile CW are LED moving heads.

Hurácan-X 100% framing shutters, a phasechange liquid cooling system fitted with four submersible fans located outside the enclosure and a water-resistant menu navigation system.

Huracán-X is the 1,000W big sister of Khamsin and has a 50,000-lumen output. With a colour temperature of 6,500K and a triple variable colour temperature corrector to allow adjustment from 2,700K to 10,000K, it has been designed to deliver a uniform flat beam with no hot spot. It comes with a 10:1 zoom ratio and a 6.2–62° zoom range.

Fuze Profile CW

Proteus Maximus dual gobo wheels, an animation wheel, frost, prism and iris. The Fuze Profile CW has a 91 CRI 380W LED engine and an output reportedly exceeding 12,000 lumens. It also has a 7–46° zoom alongside a rotating gobo wheel of breakups, two colour wheels featuring solid colours and correction features, and an iris.

The Paladin series also has new members. Paladin Cube, Paladin Brick and Paladin Panel all have IP65 protection and use 15W RGBW cells – 9, 24 and 50, respectively. The lights can be used from either a floor or truss position and incorporate individual cell control and strobe.

www.ayrton.eu

Paladin Panel, Brick and Cube

VDO Atomic Dot combined in one fixture to give users the ability to deploy VDO Atomic Dots in large quantities. www.martin.com

Fuze Spot and Fuze Profile house a 92 CRI engine that uses a fivecolour homogenised LED array of red, green, blue, mint and amber sources. The LEDs deliver over 9,000 lumens and incorporate virtual colour temperature, magenta/green adjustment plus colour gel emulation. Described as compact, quiet and lightweight, both fixtures house a 7–46° zoom,

Finally, the Dylos pixel compressor is based on a full 3D environment and DirectX graphics processing. The first preview of the engine allows users to examine how Obsidian envisions the integration of fixture, media and pixel control into the Onyx platform. www.elationlighting.com

September–October 2019 WORSHIP AVL 67

THE TECH VIEW

Colin Boyle discusses house of worship AV Colin Boyle is the European product marketing specialist for projectors at Canon.

He previously served as production manager at Kerith Community Church I WORKED AT THE KERITH Community Church in Bracknell, West London, which had a 1,000seat auditorium as well as meeting rooms, office space and a separate youth and community building with a 200-person capacity. In my time there I held several roles. Initially, I was director of music, offering training to the volunteer musicians, which led to my role as the church’s first production manager, overseeing the teams who contributed to the PA, lighting, projection, camera operation and vision mixing. This started as a volunteer role but, as the church expanded and our production requirements grew, I increased my hours to part-time for two years.

Following this, I became a full-time, permanent member of staff for over 19 years.

Today, many houses of worship are looking for new ways to engage with younger audiences and to create more captivating, compelling services. In order to do this, many of the larger venues are installing high image quality projectors for song lyrics, video and even live service projection – particularly important

for congregations operating across multiple venues.

This is often integrated with staging and lighting design to create an immersive experience, which helps places of worship deliver their message. It’s also becoming much more common to see this practice in smaller houses of worship, who are trying to maintain interest in an increasingly competitive digital world.

Central in all of this is the use of projection software, which produces a much smoother creative flow for religious meetings. When used in

Canon’s XEED 4K600STZ projector

Kerith Community Church

68 WORSHIP AVL September–October 2019

Colin Boyle was church production manager for more than 20 years accordance with vision mixers, this allows much greater freedom with projection, enabling AV technicians to overlay live feeds with words or images.

Over the years, worship content hasn’t undergone a dramatic transformation. For most places of worship, lyrics to songs, religious texts, offerings and images are relatively constant and, generally, this only requires a single projector with a central screen and basic sound reinforcement.

Depending on the church culture, change is often hard to implement when necessary. Providing a clear vision of change to the church – particularly one with a top-down leadership structure – is essential.

If you can get the leaders and finance managers on board with the transformation, then you are on to a winner. In the case of the Kerith Community Church, where the funding comes from congregational giving, it’s crucial to demonstrate the value of the projection installation.

Spread the Word – ATX Wireless Systems for House of Worship Samson is a trusted partner for all of your House of Worship wireless audio needs. Equipped with the latest technologies, Samson wireless solutions rise to the unique challenges of the modern worship venue. Optimized for peak performance, stress-free setup, and long-term reliability, the Samson ATX wireless microphone series ensures every word comes through crystal clear with uncompromised audio fidelity.

Available in headset (AHX) and lavalier (ALX) configurations, Samson ATX wireless systems allow you to deliver your message with total freedom, comfort and clarity. The AHX Headset system features the DE10x low-profile headset that fits securely over both ears, keeping the microphone comfortably in place. The ALX Lavalier system includes the LM8 microphone which offers discreet placement that clips on a tie, lapel, or other clothing. Both microphones have omnidirectional pick-up patterns which capture sound equally from all directions, assuring intelligible speech at all times, in any position.

Samson developed the world’s smallest frequency-agile micro transmitter with the ATX Series. The ATX Micro Transmitter clips directly to a belt or clothing, replacing bulky battery packs and unsightly cables. Fitting comfortably in place, the micro transmitter moves freely with the user while remaining unnoticed by an audience.

For added convenience, color-coded LEDs quickly reveal the operating status, and a handy mute button is always ready. The rechargeable lithium-ion battery provides eight hours of worry-free wireless operation.

The CR99 is the flagship Samson UHF wireless receiver and is the perfect complement to the ATX transmitter.

Automated features include optimal operating channel scan, sync for transmitter and receiver pairing and auto mute for when the transmitter is out of range. Mastering the system takes just minutes, and can be used by any member of the worship team. Best of all, Samson ATX wireless solutions will accommodate your growing worship needs, be they for live events, recording, live streaming, or podcasting your message to the masses.

© 2019 Samson

THE TECH VIEW When you are asking the community to donate significant amounts for AV infrastructure, you have to be able to justify it and ultimately show that it was worth the money spent.

A big part of this is helping the church community to see the longterm strategy. Often, churches want to invest in solving a current problem but aren’t looking at where they want to be in five or 10 years. Overcoming the current problem with a solution that allows growth demands a clear vision and a bigger budget but, when considered over a five- or 10-year period, it can be a much better use of the congregation’s hard-earned money.

At Kerith, for example, we made an investment of over £40K in our lighting infrastructure. I had to clearly illustrate to the congregation

Canon projectors are used to display lyrics, video playback and IMAG what this investment would look like, as the cost covered the implementation of just six white lights! However, this money also covered a significant power upgrade, trussing, DMX cabling, patching and connectivity with the lighting desk.

Over the next 10 years, we slowly added lighting fixtures, with purchasing often strategically coinciding with big events. Due to the initial investment in the lighting system, we were able to seamlessly add new fixtures to the underlying infrastructure. Even when the BBC came in to record two episodes of Songs of Praise, they were able to plug high-end lighting equipment into the church’s 30A three-phase supply and were very happy.

A more practical challenge, especially when working with old or heritage buildings, is ensuring that any changes don’t affect the building’s aesthetic. For projection, this often means having a compact model, capable of delivering high image quality and a short-

throw projection so that it can be positioned discreetly out of the line of sight of the community.

Maintaining the look and feel of the building is pivotal.

When making changes or improvements to your house of worship, it’s important to employ the support of a reputable systems integrator, relative to the size of your house of worship. For the PA requirements in our 1,000-seat auditorium at Kerith Church, we used a systems integrator who had worked with several West End theatres, but, for the smaller youth and community building, we worked with a smaller local company. This ensured that we used our budget most effectively and had the relevant expertise on hand to support with the project.

For volunteers, I would also recommend that you arrange the best training possible on the equipment used in your house of worship, then document or formalise this training so that it can be passed on to the next generation.

70 WORSHIP AVL September–October 2019

For long-term volunteers, make sure that you plan for the future and keep this in mind when making investments. Involve key staff and volunteers with the development of your AV strategy and use their skills to save money. Invest in the best equipment and training possible to make sure that it is a lasting venture and that staff and volunteers can make the best use of it for years to come.

Different manufacturers have different strengths and technologies to cover key markets but very few are relevant to all markets.

Canon has an established heritage in optical excellence, across its entire professional imaging range – whether that is cameras or projectors. Canon’s high image projection technology meets a wide

range of installation possibilities, including traditional houses of worship and more contemporary style setups that are looking to attract younger audiences.

The AV industry is being driven by the home cinema market and the way in which the younger generation engages with technology.

As with many other installation environments, houses of worship need to engage with modern culture, standards and expectations. As a manufacturer, Canon strives to keep pace with the huge transformation in how people engage with content and ensure that it has the best solutions to offer within the markets in which we operate. www.canon.com www.kerith.church

Nieuwe Kerk in Groningen, Netherlands has been installed with Canon projectors

Simply add safety to your House of Worship

One integrated system for brilliant sound and voice alarm You have already concerned yourself with the perfect solution for s sound system in your House of Worship and perhaps you have even thought of background music. Now imagine there is a solution that also adds voice alarm functionality which utilises the speakers within this system – how do you know it’s a safe choice? Because it complies to the European EN 54-4/16/24 standards or the BS-5839 Pt8 British Standard.

You can address the worshippers in an ordinary service, play background music or even include live music. Additionally, it is possible to use the same system for emergency purposes to guide the worshippers to safety. Integrating your requirements for audio solutions into one system is possible with TOA – that’s TOA’s state-of-the-art method for ensuring safety.

Find out which products comprise a perfect solution: Voice Alarm System VX-3000: Scalable for every location and designed according to the relevant requirements Line Array Speaker SR-S4S with matching transformers MT-S0601 (60W): 2-way line array speaker with sub-woofers; Clear sound with reduced attenuation over distance Array Microphone AM-1: Built-in voice detection captures voice from up to 3 metres away: Speak to your audience, not to your microphone

We supply sound, not equipment. www.toa.eu

TOA Electronics Europe

TOAEurope

Listening Reimagined Did You Know? One in five congregants struggle to hear the church service. Offering assistive listening in houses of worship ensures everyone can hear the message.

Available Technologies: ListenRF - Radio frequency technology that is ideal for large or small coverage needs ListenIR - Infrared technology for when security and flexibility matter ListenTALK - Secure & flexible 2-way mobile communication Listen EVERYWHERE - Easily stream audio from any source to smartphones via Wi-Fi

Contact us for more information: www.NationalAudio.com.au