AV LIGHTING SOUND REINFORCEMENT RECORDING STAGE SOUND BROADCAST November–December 2022

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November–December 2022

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St Peter’s Pembury

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WAVL Single Full page.indd 12 28/09/2022 12:40
 Contents Issue 78 November–December 2022

Comment Projects
Welcome
I’m so pleased to be able to bring you details of the

4
recent installation of audio, video and livestreaming
equipment at my home church of St Peter’s Pembury. It’s
been a great experience being able to follow the whole
process from start to finish. We’ve had a few bumps
along the way but, given all the factors the AV industry is
currently facing, the integrator went above and beyond
the call of duty to help us complete the project on time.
Read more about the story on p.22.
Speaking of bumps along the way, most churches

14 20 will experience a few ups and downs during their AVL

upgrades but having a tornado thrown into the mix
added a new level of complexity for Cross Point Church

KnowHOW in Nashville, Tennessee. Here, the integrator helped

mobilise community support groups before meeting with
church to determine what challenges the storms had
created.
In our Tech Forum, we ask whether livestreaming is
the right choice for your church or whether recording
the service and posting content after the event is your
preferred choice.
I hope you enjoy the issue.

32
Editor
Technology Products Email: kwallace@worshipavl.com

Follow us on social media

@WorshipAVLMagazine

40
The Tech View CONTACTS
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November–December 2022 WORSHIP AVL 3

WAVL Pg3 Contents.indd 3 28/09/2022 17:23

 COMMENT
Loudspeaker choices
in mosques
Azizi Ala highlights the important factors to consider
for speaker placement in mosques
AN IDEAL MOSQUE SOUND
system should consist of five essential
electroacoustic components – source,
mixing, processing, amplification and
loudspeaker – for sound reproduction.
Each of these components has its
role and function and this includes
the loudspeaker, which functions to
convert an electrical signal into sound
waves. In the final part of this series,
I will touch on the loudspeakers that
are often used in mosques.
SPL and STI
Two important acoustic parameters
need to be evaluated to determine
the sound quality inside a mosque.
Audibility or sound pressure level
(SPL) is calculated to ensure the
sound is received by all members
of the audience equally, while
intelligibility or speech transmission
index (STI) is used to make certain
the sound is clear for the listener at
any position in the audience area.
“High SPL will guarantee and provide
the desired intelligibility.” This is a
common misconception and is often
said among users. Because of this,
most of the sound systems that are
designed for mosques only focus on
high SPL results without considering
the intelligibility aspect.
Loud sound and intelligible sound
are two different things, where
loud sound often depends on the
specifications of the loudspeakers
alone. This differs from intelligible
sound as it is affected by many other
factors, such as reverberation (RT60),
background noise (BN), frequency
response, SPL, loudspeaker
directivity, etc.
Therefore, the task of improving
sound intelligibility is quite complex
and challenging because it requires
the scrutiny of several different
elements during the design process.
The loudspeaker
There is no straightforward
process for determining the type
4 WORSHIP AVL November–December 2022
WAVL Pg4-5 Azizi.indd 4
of loudspeaker, quantity needed,
location to install and brand
to use. But, in terms of design
requirements, the ideal SPL needs
to exceed +10dB above BN and
an STI of 0.52 is the minimum.
To achieve this requirement, it’s
crucial to understand the acoustic
conditions of the mosque first,
especially for the RT60 value before
the loudspeaker selection process
can be made.
Speakers hidden inside a decorative grille
Onsite measurements need to
be carried out in the mosque,
while preliminary estimates can be
made using calculation methods
or computerised models that use
acoustic simulation software based
on construction drawings provided
by the architect.
As a rule of thumb, loudspeakers
that are suitable for use in
mosques are those that have a
frequency range of 100Hz–8kHz
because most of the activities
conducted in mosques are limited
to speech only. Therefore, the use
of a subwoofer is not appropriate
in mosques. In addition, the use
Azizi Ala
Founder and technical director at Acousticon Sdn Bhd
of loudspeakers that have a high
directivity index (DI) such as column
line array loudspeakers is highly
recommended for mosques that
have a high RT60 problem. This is
because a high DI can help expand
the critical distance (CD) area and
therefore the STI value can be
indirectly increased.
Electro-Acoustic Simulator for
Engineers (EASE) developed by
AFMG is an example of an acoustic
simulation software that is widely
used by systems integrators and
audio consultants in determining
the appropriate loudspeaker
selection during the design process.
The software can provide an initial
overview of the performance of the
loudspeakers and this includes
SPL, STI, CD measurements and
others based on acoustic data
information measured or simulated
onsite. It can also provide early
prediction of the difficulties that will
be encountered, for example dealing
with issues relating to the dome
and columns.
Aesthetic vs
performance
Last but not least, the aesthetic
issue is often debated after the
design of a system has been
decided. This is because the best
loudspeaker installation locations
often coincide with the decorative
Islamic architecture which cannot be
disturbed by the presence of other
objects. Therefore, there needs
to be a compromise on where or
how the speakers are installed,
for example, by using decorative
loudspeaker stands to solve
mounting issues.
In addition, the size and colour
of the loudspeaker is another
issue that is often raised. Most
users tend to prefer small or slim
loudspeakers as they are convenient
to hide inside wall openings, or they
are sleek and tidy when installed on
the wall. For this reason, column line
arrays and steerable line arrays are
more frequently used in mosques
compared to other speaker types,
such as J shape line arrays which
are bulky in shape and difficult for
users to accept. White is a must
in terms of colour selection if the
speaker is installed on the surface
because it can blend with the
decorative Islamic architecture, such
as the Mihrab wall.
I hope that these four articles I
have written have provided a general
overview and a better understanding
of a mosque audio system. Until we
meet again in the next article, take
care.
27/09/2022 12:29
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 COMMENT

What’s acoustics got to

Ih
re
ha

do with church worship?

Robert Soo brings us the fifth and final article looking at what, why
and how AVL systems and acoustics matter to church worship
IN THE FINAL ARTICLE OF THIS
current series, I will be addressing the
often underdiscussed topic of acoustics
for churches. The quality of sound in
a church is vital to its worshippers’
experience and, whenever churches have
problems with their sound, their first
suspect and go-to solution would be to
fix or upgrade the sound system. But, a
lot of the time, it could be due to issues
with the room acoustics instead, and by
changing the acoustic behaviour of the
space, it can bring about improvements
in ways that an audio system upgrade
can’t. Simply put, sound systems cannot
fix acoustic issues. So, let’s first identify
typical acoustical problems, causes
and negative effects that need to be
addressed.
Excessive echoes or reverberation are
often associated with bad acoustics.
Echoes in particular are problematic not
only for the congregation but also for
the preacher, singers and musicians,
as the distinct reflections from walls
or ceiling create a delay between the
direct and indirect sound, which makes
performing very difficult and frustrating.
Echoes are usually direct reflections off
hard interior surfaces and furnishings
(such as glass, stone, marble and
concrete) and eventually reverberate
Robert Soo
Cogent Acoustics (Singapore)
Principal Consultant and Trainer
Non-parallel walls can aid acoustics
around the space. A symmetrical room
with parallel surfaces often accentuates
this problem – the larger the room, the
more pronounced it is due to the longer
travel distances.
While we can all agree that we do
not want echoes, is the presence of
reverberation all bad? And just how
long does a reverberation time have
to be before it is considered “bad”?
Reverberation is defined as the time
taken for sound to decay by 60dB
(hence the term RT60). For comparison,
RT60 for a movie theatre is below
0.8s, a symphony hall around 1.5–2s
and cathedrals ranging from 3–6s.
Technically, there is no specific RT60
that is ideal for every sanctuary. In most
cases, some level of reverberation is
actually beneficial to both speech and
music and especially in encouraging
congregational singing. In other
settings, longer reverberation may even
be desirable. The level of reverberation
deemed appropriate will depend on
the respective worship style, the music
setup as well as the emphasis on the
spoken (amplified) word.
Traditional worship styles consisting
of mainly hymns supported by a pipe
organ, string instruments and choir,
benefit from a longer reverberation
RT60 graph
of between 2–4s, which helps create
a sense of depth and spaciousness
as well as enhance the sound of
congregational singing that often gets
described as “heavenly”. However,
a shorter RT60 of 0.8–1.2s would
work better for upbeat contemporary
worship styles that are accompanied by
modern instruments like drums, electric
guitars and bass, but exceeding 1.5s
de
job
co
co
ch
co
T
ot
wh
via
will muddle up the details of amplified pe
music, with the clashing of direct and an
reverberant sounds that only gets wi
worse with more percussive, staccato an
and up-tempo music due to the cir
overlapping of every note played, drum sy
hit and consonant sung. th
But how does reverberation affect fro
the spoken word? A long RT60 reduces Th
speech intelligibility, so this makes lay
it very challenging for traditionally po
designed sanctuaries like cathedrals fo
to strike the right balance between the av
acoustical need for liturgical worship lou
and an amplified sermon, with the latter co
requiring a much shorter reverberation so
time. As such, venues suited for sa
contemporary music will usually fare co
much better in this aspect. lik
Room acoustics are commonly ke
managed through strategically iso
positioned and calculated use of to
acoustic panels, bass traps and
diffusers, in combination with
sound absorptive furnishing such as
curtains, carpeting and upholstered
seats to achieve the right balance
of reverberation. It is actually a very
complex process that goes beyond
just putting acoustic foam sheets on
walls, so it is best left to experienced
acoustic experts to handle, as
improper executions can easily result in
undesirable outcomes. Case in point,

6 WORSHIP AVL November–December 2022

WAVL Pg6-7 Robert Soo.indd 6 27/09/2022 12:34


I have on multiple occasions received
requests from churches to fix worship
halls that sounded dull, boomy or “too
dead” (acoustically) after botched
jobs done by their contractors. Such
corrective works will result in additional
cost as well as downtime for the
church, so it’s imperative that it is done
correctly the first time.
Then what about cathedrals and
other traditionally designed spaces
where acoustic treatment is not a
viable option? For example, wooden
pews, hard flooring, high ceiling
and walls with large stained-glass
windows are integral to these places
and cannot be changed. Under such
circumstances, a good loudspeaker
m system design is critical to curbing
the amount of amplified sound energy
from reverberating within the space.
This involves studying the sanctuary
layout, plotting appropriate loudspeaker
positions, aiming loudspeakers to
focus mainly on the seating areas and
e avoiding reflective surfaces, selecting
loudspeakers with the right tonality,
er coverage angles and projection, and
n so on. In addition, highly reverberant
sanctuaries transiting to using
contemporary band instruments
like percussion, electric guitars and
keyboards would be wise to implement
isolation “shields” and in-ear monitoring
ai165047642158_Transmitters for
to reduce unwanted sound bleed.
Transmitters...

 
 

Commonly used fabric-wrapped acoustic panels
This approach would at best be
considered a good compromise, as
the level of reverberation can still vary
substantially according to the room
occupancy. When there is a full house,
intelligibility and music clarity will be at
its peak, with reverberation levels at
its lowest due to the sound absorption
provided by the people present.
However, the less occupied the
sanctuary is, the more difficult it is to
control, so the worshippers may receive systems, usually unnoticed (until
a different sound experience each week it’s switched off) but substantially
depending
Every on how well attended thecopy.pdfraising
Purpose_half_horz_WorshipAVL
respective worship service is.

 

Managing the acoustics of a worship
hall is not just about dealing with
unwanted echoes and reverberation,
as there are other aspects such as
external noises from thunderstorms,
traffic or even the conversations
of people walking outside leaking
into the sanctuary that can be
very distracting during a service.
There’s also the presence of noise
or vibrations from air ventilation
1 the overall noise
4/20/2022 floor,AM
11:40:29
resulting in the need to turn up

COMMENT
the sound system and causing
listening fatigue. All these issues
can be mitigated by ensuring proper
planning and provision for sound
insulation for walls, doors, ceilings,
floors and even to the electrical and
mechanical services penetrations
between rooms and levels within
the building. This is by no means an
easy feat for a lay person to deal with
and should be best left to experts
like acoustic consultants who will
work with the building, electrical and
mechanical designers to ensure the
correct construction and solutions
are incorporated right from the very
beginning.
I cannot emphasise enough
how important addressing church
acoustics is as it is fundamental
to the sound experience that every
worshipper gets in church. It is not
about catching up with the times
and certainly not about raising the
entertainment value, but it is about
providing a conducive environment for
worshippers to commune with God.
That’s the ultimate goal.
Well, I do hope you’ve enjoyed this
article and the four others I’ve written
prior to this. May you continue to
learn, grow and use technology to
bless people and for His glory! Till
we meet again here in the pages of
Worship AVL, God Bless.


 

  

  

...for every purpose

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

November–December 2022 WORSHIP AVL 7

WAVL Pg6-7 Robert Soo.indd 7 27/09/2022 12:36

 TECH FORUM
Do you livestream?
Livestreaming has become a hot topic since the start of the pandemic,
but is it the right solution for everyone?
Cory Bolen, First West, USA: We
have a multi-faceted approach to
making sure our services are available
to the public. First and foremost,
we do livestream, using RESI to
platforms such as Facebook, YouTube
and the Church Online platform. We
also record our services, not just
for archives, but also to post-edit
and send for playback on a local TV
station that reaches roughly 7,000
homes per week. Playback to a TV
channel can be rather costly, but First
West has a long-standing agreement
with this particular station. Another
positive to recording the service is
it allows us to post-edit clips for use
with our social media strategy, whether
it is highlighting a special part of the
service or highlighting a main point
from our pastor’s sermon.
Stephen Brindley, Crossways
Community Church, UK: As a
church organisation, we chose to start
dabbling with livestreaming in 2019,
before the pandemic hit the UK. Back
then, we knew that livestreaming was
a great tool to help us as a church,
to have a wider reach and greater
impact. We also knew that it would
be a great tool for those that could
not get to a meeting place or were
unable to attend. We started in 2019
with a single Mevo camera and played
around with what was best for us
as a church organisation. When the
pandemic hit in 2020 and gatherings
were not allowed, we were able to
livestream our services straight away,
thanks to our previous knowledge
with the mevo and restream. We
invested again and upgraded some
8 WORSHIP AVL November–December 2022
WAVL Pg8-9 Tech Forum.indd 8
Livestreaming at TBCo in
Nashville, Tennessee
Online services at Empower Church in Pretoria, South Africa
of our equipment with a Blackmagic
Design ATEM mini broadcast
switcher with multiple HD cameras
and a restream licence. After some
months of getting it how we needed
it, our reach started to grow online
thanks to streaming. Now we are
back to in-person meetings, we
also have an online following, so
we now aim to reach both. We
are currently improving our online
stream, so we can really make an
impact and make our livestreams
interesting for those watching
online. While we have managed in
the past with broadcasting live via
a Wi-Fi connection and with one
single camera, it hasn’t always been
the best. Now we are moving into
new premises, we are looking at
spending a month’s downtime and
installing a dedicated internet line
solely for our stream and investing
in the right lighting and best camera
angles, to give the best results
and maintain the attention of our
viewers. From a church point of view,
TECH
FORUM
livestreaming is a great way for you
to share your message and impact
a wider community but, whatever
organisation you are, if you can
invest a little and spend some time
in making it great, then livestreaming
is a great way for you to expand your
reach in today’s world.
Chris Lyles, Central Ministries,
USA: During the lockdown portion
of the pandemic, we were not able
to livestream “live”. We pre-recorded
services and aired them via a
streaming platform. But once that
season was over, we returned to
streaming live. Our approach to our
platform is that it’s a “window” into
our services. There’s something
unifying about watching things
happening in real time, and we
really value that bond. We consider
our online audience part of our
congregation/family, so we can offer
an online experience of our room
during the normal service times
people attend on-campus.
Pete Hopper, Youth for Christ,
USA: In both my roles as comms
director at Youth for Christ, but also
a local church leader, I do involve
myself in the livestreaming process.
The process is very different in each,
though. At church, we have a simple,
single camera setup that streams
directly to a closed Facebook group –
this is specifically for those in our
congregation that can’t come to
meet with us in-person, or for those
who may have missed the service or
want to re-listen to the teaching at a
later date. This is purely a transfer of
information, and for that reason we
keep it simple. At Youth for Christ,
we have a complete multi-camera
live broadcast setup, enabling us
to deliver virtual conferences and
events. This allows us to incorporate
a full multimedia setup, including
live worship, guest speakers via
zoom and interaction with attendees
via Brushfire (which we also use
for ticketing, pre/post-conference
information and an on-demand facility).
27/09/2022 12:40
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WAVL Single Full page.indd 12 28/09/2022 12:47
 BUSINESS: COMPANY PROFILE
All systems go
Heavily involved in the Korean worship sector, Chris-System, a division of SI and distribution
company S3Global, is preparing to launch its range of loudspeakers to the world
L–R: Chris-System’s co-founders
Seon Woo Lee and David Kim
KOREA’S REPUTATION AS AN
international provider of pro audio
systems is about to be bolstered by
the arrival of Chris-System, which has
been quietly establishing itself on
home turf for the past decade, and is
now pushing ahead with plans to enter
the global marketplace.
Although produced overseas, the
concept and design of Chris-System’s
three current ranges all originate from
the three company founders, Jong
Min Choi, Seon Woo Lee and David
Kim, who met 20 years ago while
working as systems integrators. All
three had discovered a passion for
audio while volunteering in their local
churches as they grew up. None of
them had the benefit of studying
audio as no colleges in Korea offered
the subject then, but all had that
timeless qualification for working
in the industry – a fascination with
taking equipment apart to see how
it worked. In fact, Lee had attended
theology school with a view to
becoming a pastor before audio
trumped religion as his chosen career
path.
In 2012, Choi, Lee and Kim reunited
to pool their collective acoustic and
installation experience by launching
S3Global with the aim of becoming a
total AV solutions provider, systems
integrator, acoustic consultant and
distributor. Simultaneously, the
trio also began working on its own
pro audio brand – Chris-System. “I
had always been very interested
10 WORSHIP AVL November–December 2022
WAVL Pg10-11 Company Profile.indd 10
Anyang Methodist Church is installed with a V Series line array system
in manufacturing my own range of
speakers, but this wasn’t easy to do
in Korea,” explains Lee. “Lots of the
quality speaker components come
from Europe and North America and,
as all of the world-famous speaker
brands are established here in Korea,
there is already a high benchmark.
When it comes to making a speaker
with good sound and distributing it
to the market, pricing is the main
challenge. We wanted to try and
break the rule that good speakers
need to be very expensive. Our main
philosophy is that we want to strive to
make good speakers at a reasonable
price.”
The worship sector is huge in
Korea, and an estimated 70% of
Chris-System’s turnover. The brand’s
V Series line array systems have
been installed into houses of worship
including Anyang Methodist Church,
Soodong Church, Gwangju Mission
Church, Jeonju Seomoon Church and
Soongin Church, all of which host
congregations of a minimum of 1,000
worshippers. During Covid, business
increased twofold, mainly because of
churches, most of which started to
improve their online video equipment
for remote worship services. As
people stopped attending in-person,
many churches took advantage of the
break to renovate their interiors and
update equipment.
Over the years, the company has
established three separate ranges:
the V Series of line array cabinets,
The T Series point source range
is manufactured in the UK
subwoofers and stage monitors, T
and Q Series point source speakers
and K Series PA range, manufactured
in Germany, the UK and China,
respectively. A major milestone was
reached in late 2021, when national
broadcaster KBS specified a system
consisting of 24 V20 line array
cabinets with four V28B and eight
V18B double 18-inch subwoofers for
its KBS Arena Hall, a 1,800-capacity
venue that hosts musical
performances and church services.
This gave the team the confidence to
think about launching their brand on
an international level. “We’re starting
to be selected more and more for
tenders where we’ve bid for projects
against other brands,” adds Lee.
“People are asking specifically for
Chris-System, as most of the bigger
players in the market now know who
we are. Our main weakness is that
the end users don’t know the name
too much. For the past five years,
we’ve never done much marketing, we
haven’t advertised or produced any
social media to promote ourselves.”
Post-Covid, Chris-System’s star
continues to rise. The company is
consulting on several megachurch
projects in Korea, while another public
broadcaster, SBS, has expressed
interest in testing a system for its
live music TV programmes. The
company is also beginning to dip its
toe into the competitive world of live
sound, realising that in order to be
requested on riders, the brand first
needs more exposure. It is currently
working with three rental companies,
while several others have expressed
an interest in purchasing the new T9
system currently being developed for
the rental market when it becomes
available.
Meanwhile, S3Global, which in
addition to distributing Chris-System
in Korea also represents acoustic
brands Muller-BBM and Auralex
Acoustics, as well as Extron and
Syntax cabling, is looking to add to
its portfolio in the company’s ongoing
quest to increase the services it
offers to Korea’s AV industry.
www.chris-system.com
27/09/2022 12:41
 YOUR MESSAGE.
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K&F PIA M CONVEYS YOUR MESSAGE

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WAVL Single Full page.indd 12 28/09/2022 12:48

 PROJECTS
A HelixNet beltpack with CC-28 headset
Freedom to roam
King Jesus Church expands its Clear-Com footprint after success with Encore partyline
MIAMI-BASED KING JESUS
Church is taking its production to the
next level with a recent upgrade to
a Clear-Com intercom system. The
project saw its existing Clear-Com
Encore analogue partyline intercom
system combine with an Eclipse
HX digital matrix system, fitted
with an E-IPA card, FreeSpeak II
digital wireless transceivers and
beltpacks, HelixNet, an LQ series of
IP interfaces and, finally, the Agent-IC
mobile app.
For over 20 years, King Jesus
Church of Miami (KJM) has been
successful with its ministry
in southern Florida, with an
attendance of 15,000–20,000
people each week at both its main
and remote campuses worldwide.
Naturally, as its ministry has grown,
so has its production, broadcasting
online to thousands of followers.
With Latin American roots, the
church’s services are often spoken
in Spanish as well as English, with
other languages also spoken.
KJM’s evolving production crew
consists of camera operators,
technical directors, a director and
producer, audio engineers, graphic
designers, streaming coordinators
and various production assistants.
It was becoming clear that this
level of production required more
12 WORSHIP AVL November–December 2022
WAVL Pg12-13 King Jesus.indd 12
The studio control room
The Eclipse HX digital matrix system
The HelixNet and FreeSpeak II beltpacks
flexibility and bandwidth regarding
comms.
Sean Sweeney of CP
Communications worked with
KJM technical director, Jonathan
Garcia, to design an intercom
system that would be able to cope
with KJM’s modern requirements.
Garcia explains: “Communicating
on Sunday was becoming more
and more difficult. When you have
over 25 different people, doing
10 different things and all sharing
a four-channel system, the idea
of ‘controlled chaos’ comes to
mind.”
Sweeney and Garcia installed
an Eclipse HX Median frame
with 16 ports of four-wire and
32 IP ports on the E-IPA card,
four FreeSpeak II IP transceivers
and 15 FreeSpeak II beltpacks,
allowing staff the freedom to roam
the building while staying online.
Also installed was a HelixNet base
station and LQ IP interface to
support the FOH audio and lighting
crews. To complete the new
system, they implemented several
Agent-IC mobile app licences with
an external internet connection,
enabling the production crew
to roam outside the sanctuary
as needed, all the while still
connected on comms. Together,
this system facilitates a modern
workflow that takes into account
hybrid and remote workflows.
“The way the new system
configuration streamlined our
operations and made Sunday
service a breeze for all of us
involved, is a total game changer,”
notes Garcia after the church’s
first Sunday service with the new
system in place.
To help produce its global
broadcasts, KJM has a
broadcasting studio a few blocks
aways, which is connected to the
main facility over a WAN network,
allowing all its communications to
happen via its HelixNet beltpacks.
The studio control room is
outfitted with an Eclipse HX Delta
frame, V-Series Iris panels, E-IPA
card, Agent-IC and FreeSpeak II
beltpacks and transceivers.
Sweeney and Garcia worked
together to configure the setup,
creating a reliable intercom system
that bridges the two buildings and
allows for broadcast and streaming
productions to take place.
“We now have a solid and
flexible intercom backbone for our
communications that will be able
to grow with us as we continue
to expand our operations and
broadcasting reach,” concludes
Garcia.
www.clearcom.com
27/09/2022 12:47
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Anz-Uni-M1-B210xH297-EN-20220831.indd 1 31.08.2022 14:26:26

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 PROJECTS
At-Thohir Mosque maintains
grandeur with L-Acoustics
Located on the perimeter of the Podomoro Golf Complex in a leafy suburb of Jakarta,
At-Thohir Mosque was built by the extended family of automotive businessman, Teddy Thohir
THIS PEARLESCENT HOUSE OF
worship features 29 domes, and can
welcome up to 1,900 worshippers,
having been inaugurated by
Indonesia’s president this spring.
The mosque’s technical committee
required a powerful and pristine
sound system that would be discreet
against the building’s clean white
interior adorned with gold religious
calligraphy. Recent government
guidelines put a cap on sound
volumes at 100dB and limited
amplified audio to inside buildings,
which made the sound system choice
a little trickier. At-Thohir Mosque
turned to Jakarta-based pro audio
supplier, Gracia Auvindo, for help.
Hendra Halim, project manager
and systems engineer at Gracia
Auvindo, explained that in
addition to the aesthetic and
SPL requirements, installation
options were limited in the
28.5m2 main prayer hall. Halim
said: “Furthermore, the hall is
constructed of marble and granite,
creating reflective surfaces
throughout, compounded by the
inner side of a dome-shaped roof.”
Halim worked with L-Acoustics
application project engineer
APAC, Chung Wah Khiew, using
14 WORSHIP AVL November–December 2022
WAVL Pg14-15 At-Thoir.indd 14
L-Acoustics Soundvision to design
a system that would minimise
reflections by keeping sound within
the audience area, avoiding the
domed roof and reflective walls.
“We mapped a Syva design in
Soundvision and found that its 50m
throw capability would be more than
sufficient for the 30m-deep prayer
hall,” he explained. The graceful
lines of Syva would also melt into
the architecture, so Halim brought
the design proposal to the mosque
committee, noting that the system
would be white to match the venue.
The final system design installed in
the main prayer hall consists of two
Syva placed 4m high and serve as
the main system. Four 5XT coaxial
speakers have been installed as
front-fill, while an X8 serves as
centre-fill. Two additional Syva, The main prayer hall contains two L-Acoustics Syva placed 4m high
mounted 3.5m high, provide delay.
“The two Syva delays allow the With the new sound system Halim said. “Soundvision was
mosque to avoid driving the main calibrated, the mosque committee is especially helpful in ensuring that our
Syva at full power, thereby reducing said to be pleased with its excellent team proposed and installed the ideal
reflections,” added Khiew. intelligibility. More so, congregation system, and the satisfaction of the
Four additional 5XT coaxial members have commented on the committee and the congregation are
speakers are installed in the clarity of the prayer services. “Working a great honour for the Gracia Auvindo
antechamber, while two further as a team with L-Acoustics and the team and me,” he concluded.
5XT are installed in the mosque’s At-Thohir committee, we’ve succeeded
basement, both of which are used in overcoming important challenges www.graciaauvindo.com
for celebratory functions. to getting great sound in this space,” www.l-acoustics.com
27/09/2022 12:58
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WAVL Single Full page.indd 12 28/09/2022 12:51
 PROJECTS
Looking to the future
KLANG:konductor brings Glen Haven Baptist Church’s monitor mixing into the future
KLANG:app shown on a display at GHBC’s FOH mix position
GLEN HAVEN BAPTIST CHURCH
(GHBC), just south of Atlanta in
McDonough, Georgia, celebrated a
milestone this year when the church
turned 75 years old. And like more
and more older churches, it spent its
diamond anniversary looking into the
future. The HOW has taken delivery
of a KLANG:konductor for its 18–20
musicians and its 100-voice choir.
The KLANG:konductor, purchased
through and installed by Clark
Integrated Solutions, is linked to the
church’s Allen & Heath dLive C3500
FOH console, whose DM64 MixRack
digital stagebox hosts a superMADI
card which, in turn, interfaces with
a pair of DiGiCo DMI-MADI-B cards.
This signal flow is used to allow the
input onstage to be converted to
XLR for use with the church’s Shure
16 WORSHIP AVL November–December 2022
WAVL Pg16-17 Glen Haven.indd 16
PSM 900 in-ear monitors, then
converted back to MADI for use with
the KLANG:konductor.
“The superMADI card feeds our
KLANG:konductor’s two DMI cards,
then we’re sending all 128 channels
from the console over the input lines,
and then sending eight mixes back to
the dLive and using the tie lines in the
dLive to feed our in-ears via the DM64
outputs,” explains GHBC’s director
of technical ministries, Brett Hill.
“We’re using the KLANG:konductor
for five or six of our core musicians
currently, but plan to roll it out to
more of them as time goes by and
everyone becomes more familiar with
its operation and benefits.”
Hill is already well-acquainted
with the advantages of the
KLANG:konductor; until it was
installed, all monitor signals were
routed through the FOH console,
which had the added task of being
the church’s broadcast audio console.
“Now, rehearsals and sound checks
are much faster and effective, and
the KLANG:konductor takes a lot
of the pressure off of the mixing
engineers and we can work with a
smaller crew,” says Hill. “Also, once
a musician moves onto the KLANG
platform, they tend to stay there;
once they experience the ability to
place themselves in the mix onstage,
they’re not going back to mono or
stereo. The 3D space gives them a
lot more clarity on their own sound
and the sound of the other musicians.
They’re also making fewer changes
during rehearsals and performances
when they’re using KLANG.”
Those benefits are also being felt by
the church’s musical director, Harrison
Smith. “I was pretty sceptical about
it at first but, after about an hour
with it, I can see why everyone loves
it,” he says. As both the church’s
musical director and drummer, Smith
was constantly fighting in his mixes
with the critical click track on the one
hand and the vocals and reverb on the
other. “With the KLANG:konductor,
I can dial in everything exactly as I
need to hear it,” he says. “Everything
is where and how you want to hear it.”
Smith says the church’s musicians
and worship leaders have responded
positively to the new platform. They
applied it initially to the “core” band –
bass, drums and two guitars – and
have been expanding its use ever
since. “Once everyone gets set up on
it, they’re good; they don’t need any
extra help, and that’s really helped
rehearsals become more productive,”
he says.
Previously, Smith would have to
act as a moderator between the
monitor mixes at front of house
and the stage, taking requests
from musicians for a little more
of this or that in their “cans” and
communicating those to the FOH
mixer. “Now, I have the KLANG:app
on an iPad in the drum enclosure,”
he says. “If they need an adjustment
in their mix that they can’t do
themselves, I can handle that from
my iPad. It’s one more way it’s taking
the burden off of front of house, too.”
And the way the KLANG platform
works, the church didn’t have to
change any of its onstage monitoring
infrastructure – antennas, earbuds
and so on were the exact same the
week after the KLANG:konductor
was installed as they were the week
before.
Long term, Hill expects virtually all
of the musicians will switch to the
KLANG:konductor platform: “As more
musicians and staff get used to the
system, we’ll have that many more
people who can also help the next
group of users get used to it,” he
says.
www.clark.is
www.ghbc.life
www.klang.com
27/09/2022 12:59
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210x297.indd 2 08.09.22 13:52

WAVL Single Full page.indd 12 28/09/2022 12:53

 PROJECTS

Lifting up worship

The NLAG team

Indian pro audio specialist Ansata has provided New Life Assembly of God
Church with an uplifting audio setup
NEW LIFE ASSEMBLY OF GOD
(NLAG) Church in Kompally,
Hyderabad, was founded by pastor
Earl Stubbs and his wife Arlene,
along with their two daughters in
1983, when pastor Stubbs began
his mission of spreading God’s word
throughout the city. Since then, the
church has grown at a steady pace,
moving regularly to new facilities
only to outgrow them a few years
later. It wasn’t long before the church
realised that having its own dedicated
building had become a necessity.
In 2018, 35 years since the Stubbs
family began their fellowship in their
own home, NLAG Church moved to a
new location with the capacity to hold
3,200 of its faithful followers.
With its new premises came the to rely on skilled volunteers at of the stage, while one d&b D20 cables from Van-Damme for all the
need for a new audio setup that the church, led by sound engineer and three 30D amplifiers deliver loudspeakers and subwoofers.
would provide the congregation Mr Moses, for installation of the power to the speakers. For mixing, “This project was quite an
with an uplifting worship new equipment, with continuous Ansata suggested AVID’s S6L accomplishment for the Ansata
experience. The church’s search remote technical support and line-up to provide the church with team and we are sure that the
for a new sound system led it to guidance from Ansata during the configuration of its control surface new audio system will provide
professional audio products and entire process. The amplifiers were and workflow. The SI selected the church with years of great-
services company Ansata, which also configured remotely. the S6L-24D digital mixer for FOH sounding music,” explains Leslie
has been providing pro audio Ansata proposed six-per-side d&b duties and the S6L-16C digital Lean, CEO of Ansata. “We support
solutions across India for over audiotechnik Yi12 line arrays hung mixer for broadcasting. A Waves our customers, no matter how
three decades. NLAG opted for a from overhead trussing in front SoundGrid Extreme Server-C has sophisticated or complicated the
complete upgrade of microphones, of the stage, with eight V-GSUB been supplied for the S6L-16C, project is. The trust we place in the
FOH mixing consoles, studio mixing subwoofers hung in between the exclusively for broadcast mixing. products inspires our engineers
consoles, speakers, subwoofers two arrays. Four Yi10P speakers DPA Microphones’ CORE 4188 to create a setup that delivers
and cabling. are on the far left and right of the slim directional flex headset mics exceptional results.”
Given ongoing lockdown trussing for outfill. Four M4 stage have been installed for preaching,
restrictions in India, Ansata had monitors are fitted across the front alongside 4 Core 4mm2 speaker www.ansata.net

18 WORSHIP AVL November–December 2022

WAVL Pg18-19 NLAG.indd 18 27/09/2022 13:00

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WAVL Single Full page.indd 12 28/09/2022 12:54

 PROJECTS

sy
to
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se
St
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ea
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ha
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wa
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Bill Rabkin using ar
StreamingPix sy
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10
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RoboPix on the wall

Unique connection
Temple Beth Am has managed to keep its congregation connected night, so they started using iPhones
to capture services, which worked
thanks to Broadcast Pix’s streaming solution as an adequate solution for several
weeks.
DURING THE PANDEMIC, MANY The temple holds Sabbath also works as technical director for “By now, the temple realised
organisations that started streaming services every Friday evening and Temple Beth Am. “That continued both the value of bringing services
their services realised it wasn’t just Saturday morning, plus a range through the fall and our High online and also the value of creating
about getting online, but also the of other religious events and Holidays of Rosh Hashana and Yom higher-quality video productions,”
quality of the video production that community social events, which had Kippur.” Rabkin adds. “Rather than simply
would keep congregations engaged. to be curtailed or moved to online Rabkin then started borrowing sticking an iPhone on a tall tripod
Temple Beth Am, Framingham, a Zoom meetings because of the cameras and tripods through in front of the rabbi and cantor, we
Boston-area reform Jewish temple, pandemic. his involvement with the local decided it would be an appropriate
was just such an organisation, and “Once people were no longer Framingham public access investment to have a permanent
decided to install a StreamingPix allowed to attend services in- community media station. These installation of professional video
content production and streaming person, our leadership immediately first virtual services were well- equipment.”
solution from Broadcast Pix to began conducting services on Zoom received by the congregation, but Working with Marty Feldman at
maintain high-quality communications from their homes,” says Bill Rabkin, Rabkin knew he couldn’t continue systems integrator Unique Media
with its congregation. a member of the congregation who borrowing cameras every Friday Systems, Rabkin explored video

20 WORSHIP AVL November–December 2022

WAVL Pg20-21 Temple Beth.indd 20 03/10/2022 09:35

 PROJECTS

system options “that would be easy
to use by people who knew nothing
about video” – especially important
with a mostly volunteer staff – yet
would allow the temple to raise its
level of production quality. That
search led them to Broadcast Pix and
StreamingPix.
The system was installed with two
robotic cameras connected by Ethernet
to the Broadcast Pix server, controlled
from a large touchscreen display.
Camera positions were chosen to
give online audiences the best views
of each service. “The sanctuary is a
large space with an airwall that can
easily divide into two smaller areas,
one for services and the other a social
hall,” Feldman explains. “We mounted
a camera in the centre in front of the
airwall, and also on one of the side
walls to give members a side angle and
straight-on view.”
Further enhancing that perspective
are the zoom capabilities of the
system’s RoboPix cameras. “Even
though they are mounted about
10–12m back in the sanctuary, we
can zoom in for a nice tight ‘news
anchor’ shot with plenty of detail.”
Immediately after the installation
was completed, everyone saw the
difference in image and production
quality. “We were still in the midst of
The Commander control software runs in a browser
the pandemic so there were only two
of us in the temple,” Rabkin says.
“But these services were even more
highly received by the participants
than the previous year when we
were using our borrowed TV studio
cameras.”
With StreamingPix, the temple can
easily change views during a service
and also create recallable presets
for frequently used camera settings.
“We can pan and swivel to capture
anything we need,” he adds. “When
we have an event in the social hall,
we simply rotate the cameras 180° to
pick up whatever is happening there
and do the same for services.”
The Broadcast Pix Commander
control software runs in a browser,
enabling users to control a show
using a PC or Mac, smartphone
or tablet device. “I can control the
cameras and make adjustments from
anywhere in the temple, or from my
home or office,” describes Rabkin.
“Our volunteers also use it. One
member will often sit in the pews next
to his wife tapping on the tablet to
select the shots that we want during
prayer.”
Besides inputs for the two
mounted cameras, StreamingPix
has an additional HDMI input. “For
special events, we can bring in an
HDMI camera and locate that on
the opposite side of the sanctuary
to capture a third angle,” Rabkin
shares. “Or that third input could be
a laptop running video or PowerPoint
slides so we can roll in live footage
or any multimedia data source.”
StreamingPix also has direct IP
connections to Zoom, YouTube
and other platforms, enabling
simultaneous livestreaming of the
production.
Although the temple has now
re-opened for in-person services,
plans are continuing to provide a
hybrid “physical/virtual” mix based
on favourable responses from the
congregation; attendance has grown
significantly since March 2020 when
the doors closed.
“We’re seeing 40 or 50 Zoom
screens at services, with many having
multiple participants, and that’s in
addition to whatever number of people
attend in-person,” adds Rabkin. “It
brings the community together and
keeps everyone connected, whether
they’re attending in-person or away
from Framingham.”
www.broadcastpix.com
www.uniquemedia-systems.com

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WAVL Pg20-21 Temple Beth.indd 21 27/09/2022 15:46

 PROJECTS

Going live
ho
as
th
pe
di

Karen Wallace’s home church of St Peter’s Pembury has taken delivery di

an
of a new audio, video and livestreaming setup for its services gr
pa
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ST PETER’S PEMBURY IS A “I first met Gill before I came ab
parish consisting of two churches – to Pembury,” explains Reverend it
St Peter’s Upper Church in the centre Richard Worssam. “I was teaching re
of the village and the Old Church on a diocesan course for licensed lay yo
located in woodland on the outskirts ministers and Gill was one of those al
of the village. The Old Church was attending. So, it was a delight to see al
originally built around 1080AD, while her engaged in active ministry when I ru
St Peter’s Upper Church was built in came here as vicar.” ha
1847 in response to village expansion With the onset of the pandemic th
from the 17th century onwards. in March 2020 when St Peter’s “
The audio system at both churches doors were closed for the first of to
was long overdue for an upgrade. two UK lockdowns, the church made th
The setup in the Upper Church was the decision to switch to Zoom for be
30 years old and was both obsolete weekly services. There wasn’t the an
and unreliable, with only one working infrastructure to even consider th
microphone. Upgrading the existing streaming services live on YouTube ha
equipment was quickly ruled out once the church was allowed to Ho
as the speakers were discontinued reopen. And so the plan to upgrade to
long ago. With over 50% of the the AV system became not only one th
congregation aged 70 and above, of necessity but of a desire to carry m
many reported that they found it hard on Betts’s work and fulfil her dreams ch
to hear what was being said in the of being able to use new technology ca
services. to involve the younger members of m
Among those pioneering the update the congregation. th
was licensed lay minister Gill Betts, When the AV upgrade journey A
who dedicated so much of her time began in February 2021, St Peter’s fix
to St Peter’s – she was actively had been holding Zoom services pr
involved in youth ministry, but her for almost a year. While no one at
creativity was being hampered by an was sure when Covid restrictions st
old projector and portable screen would be lifted, Zoom services fix
that had to be set up and dismantled had raised accessibility to home- to
Mark Willetts shows Reverend Worssam the livestreaming setup at each time. Very sadly, Betts lost her bound worshippers, including “W
the Old Church battle with cancer in early 2021. residents in the village’s two care to

22 WORSHIP AVL November–December 2022

WAVL Pg22-25 St Peters church.indd 22 27/09/2022 15:49


homes. St Peter’s is designated
as an Inclusive Church – a church
that celebrates and affirms every
person and does not discriminate on
disability, ethnicity, gender, learning
disability, mental health or sexuality –
and the need to maintain and
grow this inclusion in services was
paramount. A fundraising campaign
was launched in the summer of 2021
and was met with a very generous
response from members of the
congregation.
Local systems integrator, Ashdown
AV, which had recently installed an
Electro-Voice EVA line array system
into a nearby church, was one of
the companies contacted to provide
a quote for the upgrade. The PCC
accepted Ashdown’s proposal in July
2021. Following a lengthy Diocesan
Advisory Committee (DAC) approval
process, permission was finally
granted to go ahead with the AV
upgrade in both churches in February
this year.
“St Peter’s was an obvious
choice for me to manage because
I specialise in listed and graded
buildings and English heritage
projects,” explains Ashdown AV
senior engineer, Mark Willetts. “It was
a real pleasure to find a church in this
condition – it was well decorated and
well kept. I love ancient churches –
they are challenging to deal with but
working in the Old Church was an
absolute delight. The more difficult
it is, the more I enjoy it. When you
realise how old churches were built,
y you really start to understand where
all the nooks and crannies are, how
e all the old ducts and heating pipes
I run and so on. It’s as though you
have x-ray eyes and you can see into
the floors and into the walls.
“In the Upper Church, you only had
to look at the speakers to realise
e that the original installation had
been modified over the years to try
and make it a bit more useful as
the church grew but, in the process,
had caused quite a few issues.
However, it did make it easier for us
to follow some of the cable routes
that were already there and helped
me overcome one of the biggest
s challenges, which was getting the
cables from the balcony where the
main AV rack was to be situated into
the church without being seen.”
At the Old Church, drilling and
fixing equipment proved the biggest
problem for Willetts. The PTZ camera
at the back of the church sits on the
stone arch capital but he couldn’t
fix it into the stonework, so it had
to be fitted into the mortar joints.
“We had to create custom bracketry
to make sure that we only picked
WAVL Pg22-25 St Peters church.indd 23
View of the two EVC-1082 nave speakers and the central projection screen from the balcony of the Upper Church
One of two Yamaha VXL1W8 eight-driver line array columns
up where the mortar lines were and
then use stainless-steel fixings so
that they didn’t rust or cause any
discolouration of the stonework.
There always has to be extra
sensitivity in old buildings.”
However, when the time came to
begin the installation, a couple of
all-too-familiar setbacks delayed
the start by a couple of weeks –
nearly the entire Ashdown AV team
contracted Covid in May and supply
chain issues resulted in items on
the original specification no longer
being available. Additionally, between
quoting for the job and installation,
the audio processor and the main
projector in the nave had to be
replaced. “You have to be agile and
be able to redesign on the spot,
especially at the moment, which can
be quite tricky with lead times,” adds
Willetts.
The audio system at the Upper
Church consists of four Electro-
Voice EVC-1082 two-way, full-range
speakers, located 5m up and titled
down to ensure even coverage from
November–December 2022 WORSHIP AVL 23
PROJECTS
An E
sout
front to back. Two EVC-1082s cover
the nave, with the other two located
in each aisle. “The EVC-1082s have
excellent low end and this allowed me
to remove the sub from the design,”
explains Willetts, “and, because
they’re positioned in a corner, it
has the added benefit of increased
low-frequency output by taking
advantage of the ‘boundary effect’.
By placing them 5m up, the sound
level is constant across all seats and
therefore the reflections (echoes) are
lower, you don’t have to have them so
loud and the room reverberates even
less, ensuring clearer reproduction
of audio.”
In the chancel, an Electro-Voice
ZX1i fires backwards and down
towards the east window for speech
reinforcement – particularly important
when the screen is lowered as it
can block sound coming from the
four main speakers – while two EVID
S4.2T speakers have been installed
in the upstairs and downstairs
children’s rooms. An Audio-Technica
Pro44 unidirectional boundary
microphone has also been fitted
on the balcony as a congregational
microphone and is utilised by the
streaming system. In the rack
upstairs on the balcony are two
Dynacord C Series amplifiers for the
main speakers and aisle speakers,
a Yamaha MTX3 digital matrix, three
Audio-Technica 2000 Series radio
microphone receivers and an Audio-
Technica combiner for the aerials.
A Yamaha PA20 100V line amplifier
drives the chancel speaker and the
speakers in the children’s rooms, and
is on a separate channel to the other
27/09/2022 15:50
 PROJECTS
speakers. This setup allowed for all
the speakers to be independently
configured for the best sound and level.
In terms of projection, initial plans
involved the installation of two large
monitor screens, fixed to the columns
on either side of the chancel arch.
However, while more expensive, it
soon became clear that the DAC
was in favour of retractable screens
that would not obstruct the line of
sight when not in use. Ashdown
proposed a central winch projection
screen which is fixed behind the
main chancel arch and lowers on
two thin steel cables. Two wall-
mounted projection screens have
been installed in the side aisles, due
to the view of the main screen being
partially obstructed by the columns.
The main white Barco G60-W7
projector with a long-throw lens is
located above the balcony, with two
black Panasonic PT-FRZ50BEJ laser
projectors fixed to the wooden beams
on the ceiling in the side aisles. A
Samsung 55-inch confidence monitor
has been attached to the balcony,
which relays the same images as
the main screens and is used to
assist those leading from the front,
facing the congregation. An Extron
IN1604 four-input HDCP-compliant
scaler has three HDMI inputs and
one VGA input, while a Pulse-Eight
neo:4 4x4 HDBaseT matrix facilitates
distribution to four displays – the
main projector, two side projectors
and the confidence monitor.
The layout of the Old Church differs
from the Upper Church, with the altar
located at the east end of the church
immediately under the east window
and a longer chancel area for the
choir. Two L-R Yamaha VXL1W8 eight-
driver line array columns – measuring
only 54mm x 480mm x 104mm
(WxHxD) – have been installed at
the front of the nave, on the edge of
recessed windows, directly replacing
the original speakers. A Yamaha
VXS10S subwoofer is located on the
floor on the right of the nave behind
the pew frontal and immediately in
front of the lectern, while a Yamaha
PX3 amplifier is situated in the
vertical rack in the choir stalls.
The loop system in both churches
also needed updating. Ashdown
specified a new Ampetronic ILD122
induction loop amplifier for the Old
Church and an Ampetronic C5-1 C
Series induction loop driver for the
Upper Church.
Both sanctuaries are now using
two Audio-Technica ATW-2110BP
radio systems with clip-on lapel
microphones and one ATW-2120B
system comprising a handheld
microphone. In the Old Church,
24 WORSHIP AVL November–December 2022
WAVL Pg22-25 St Peters church.indd 24
The livestreaming setup at the Upper Church
The Old Church Avonic CM40 PTZ The eagle lectern in the Old Church
sits on the stone arch capital with an Audio-Technica ES935 mic
Audio-Technica ES935 gooseneck
microphones have been added to
the pulpit (with shockmount) and
lectern, while a further ES935 with
shockmount has been added to the
lectern at the Upper Church. “The
pulpit in the Old Church is really
ornate,” explains Willetts, “and,
because it’s used for weddings,
whatever you do, the equipment
cannot steal the show or look ugly in
the photograph. The ES935s have
a very natural sound so you hardly
have to EQ them and the feedback
rejection is amazing. Another
reason I put Audio-Technica into all
churches is that they have an easy-
to-get-to on/off switch for the user.”
While there was no requirement
for projectors or screens at the Old
Church, the livestreaming setup at
both churches is identical. An Avonic
CM40 PTZ camera has been fitted
discreetly to the front face of the
balcony in the Upper Church and to
the tower arch in the Old Church. A
controller for the PTZ, a HANNspree
24-inch display with HDMI, DVI
and VGA inputs and a Blackmagic
Design ATEM Mini Pro complete the
livestreaming setup at both churches.
The audio setup at the Old Church
is much simpler than the Upper
Church with the amplification being
primarily used for the spoken voice.
However, the Old Church is a popular
choice for weddings given the age
and beauty of the building, and so
there’s also a requirement for music,
but this is the only aspect that needs
full range.
“All the microphones come out of
the small Yamaha speakers and
the full-range music, which uses the
sub tucked away on the corner, is
purely routing the music, which keeps
the whole system very subtle and
stable,” says Willetts. “The acoustics
in the church do not have much
reverberation, which means you can
turn the speakers up considerably
before feedback. Choosing the
line array speakers meant that I
could fire the sound directly into
the congregation knowing that all
seats would get the same level and
coverage. Because the sound is so
directional on a line array, it’s firing not
only into the congregation but a little
bit of the sound reflects onto the flat
walls at the back and it’s enough with
the ambient sound in the church for
anyone in the chancel to hear clearly.”
Betts’s funeral at the Upper Church
in February 2021 was limited to just
30 people, so her family planned to
have a much larger memorial service
when Covid restrictions were
lifted. This took place in
July 2022, just one day
after Ashdown completed
the installation. “St Peter’s had
a definite end date, so I had to find
replacements for equipment that was
no longer available and make them
work,” explains Willetts. “Normally,
you would ask a client if they could
wait a bit longer and I would have
more control over the end date and
the equipment. This was unique and,
unfortunately, I didn’t have control
over either of those things. It made
everything a lot more challenging.”
However, with Willetts’ help and
training the day before the memorial
service, as well as assistance on the
day, everyone gathered to give thanks
for everything Betts had contributed
to the life of St Peter’s. “It’s good that
we can gather without restrictions to
give thanks for Gill’s life and celebrate
all that she meant to us,” explains
Reverend Worssam. “And it’s very
fitting that this is the first service in
which our new AV system is being
used as Gill’s family contributed
to the microphones and speakers.
We’re looking forward over the coming
weeks and months to exploring the
new potential that this system will
have for us and we give thanks to Gill
who was the one who set us on that
road.”
www.ashdownav.com
www.electrovoice.com
27/09/2022 15:50
 3000 Series Network systems
are compatible with
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• Class-leading, extremely wide 60 MHz UHF tuning bandwidth for
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• Unique multifunction button on the handheld and body-pack transmitters
can be used to switch to a backup frequency should interference be
encountered
• Automatically adjusts squelch setting to maximize range while minimizing
interference
• Optional network transmitter charging docks
• Frequency scan and IR sync for ease of setup
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Tel: +65 6749 5686 | Fax: +65 6749 5689 | sales@audio-technica.com.sg | sea.audio-technica.com

WAVL Single Full page.indd 12 28/09/2022 12:57

 PROJECTS
Rebuilding Cross Point
Following a devastating tornado, CTS AVL has helped Cross Point Church
rebuild after the building sustained significant damage in the storm
IN 2019, CROSS POINT CHURCH
in Nashville, Tennessee, embarked
on an upgrade for its presentation
and broadcast video systems at its
downtown campus, and approached
creative event technology company
CTS AVL to carry out the project. After
working through design concepts and
meeting with manufacturers at several
tradeshows to evaluate new equipment,
a final design and logistical plan for the
church was taking shape.
However, on 2 March 2020, a series
of tornados tore through central
Tennessee, destroying property, taking
lives and devastating communities.
The Cross Point building was one of
many impacted by the storms.  directly impacted and, because of
Cross Point’s main campus
sustained significant damage during
the storms. The tornados had torn off
large portions of the roof, knocked
out entire sections of the building and
the large sign bearing the church’s
name (that had become a landmark
for many in Nashville) was destroyed.
The portions of the building that were
left standing experienced extensive
wind and water damage. Rooms
where walls remained intact either
had standing water throughout or a
thick layer of dirt and debris, almost
as if the building had been abandoned
years before.
What had begun as a system
upgrade turned into a full facility
rebuild. And to complicate matters
further, the global pandemic hit in full
force just weeks after the tornados.
The priority after the storms was
to first ensure that families were
safe. Cross Point began mobilising
community support groups to help
those in areas that needed it. Soon
thereafter, the church staff checked
in on their multiple campuses to
26 WORSHIP AVL November–December 2022
WAVL Pg26-27 Cross point.indd 26
determine what challenges the storms
had created.
“We knew the church had been
our existing relationship with Cross
Point, we immediately connected with
them and offered to help in any way
we could,” explains Neal Watson,
vice president of integration sales
and design at CTS AVL. “Because
CTS is both an AVL integration and
live production company, we knew
there was something we could do to
support them.”
Cross Point expressed a desire to
continue offering church services for
spiritual support on top of its other
efforts to care for congregants and
the entire church community. To
support the church in this endeavour,
CTS brought in its live events team to
provide production assistance. The
church was able to secure Lipscomb
University’s Allen Arena as a venue
to host services the Sunday following
the storms and the CTS production
team was able to provide systems for
this service within the week.
Almost as quickly as these short-
term plans were established, Covid-19
restrictions were enforced. Cross
Point was then faced with a new set
ap
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co
“
as
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iss
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had experience in those areas. We
also began to work in a design-build
capacity for the recovery and rebuild
plan,” describes Watson.
As the pandemic restrictions eased
and in-person meetings resumed, CTS
continued to work with Cross Point on
its temporary solutions. Most of the
building remained unusable, but the
general contractor was able to get the
worship centre cleared for temporary
occupancy, despite no new systems
installed and only partially functioning
equipment remaining. At that point,
of challenges, complications and the CTS production team was able
decisions. to supply lighting, LED walls and
“The church was not new to infrastructure rentals to support Cross
broadcasting services, but this Point’s return to services at home,
became more convoluted since the even while construction continued Th
majority of their equipment had been throughout the facility.
destroyed or compromised,” adds “A recovery and rebuild project of W
Watson. “The media team worked this nature is always going to prove th
incredibly hard to keep online content challenging,” continues Watson. th
running during unquestionably difficult “Locally, the church had to deal eq
times. In addition, CTS helped get with the fact that they were one wo
the church up and running with their of thousands impacted by this sp
broadcast stream.” event, which inevitably led to long 3.
As many churches did during early delays, slow response times from No
lockdowns, Cross Point began filming insurance providers and a shortage an
worship services and teaching content of construction crews due to the ba
at pastors’ homes and other remote massive rebuild efforts across the Te
locations. The church would then state.” sy
edit the content and publish it for Additionally, the congregation and pr
the congregation to view online. As staff were displaced from the facility. F
restrictions lifted, Cross Point was Cross Point had been holding weekly in
able to begin combining livestreamed services in the building, so they 35
content with pre-captured content. needed to ensure that the facility was fit
While all of this was taking place, the clean, safe and functional for Sunday alo
church began evaluating the building services while heavy construction was an
damage and planning for facility going on. ca
recovery. “Cross Point brought us in Furthermore, there were logistical Vi
to assist with damage assessment; complications that came with the To
more specifically, they tasked us with pandemic, including government ro
leading the AVL systems evaluation restrictions and global supply chain pl
and coordinating with the church on issues. By the time everything was co
the insurance reporting since we finalised – including the insurance Th
27/09/2022 15:58
 approval process, designs and
budgets – the world was experiencing
the issue of technology and material
shortages. This led to a much longer
construction timeline than anyone
could have imagined.
“In a construction process such
as this, it is most efficient to have
concentrated periods of installation
work onsite,” explains Watson.
“However, due to the supply chain
issues, we knew this was not going
to be possible without making the
church wait an inordinate amount
of time to benefit from the new
systems. In order to address this
as efficiently as possible, our team
worked with the Cross Point staff to
strategically deploy and install new
systems in segments. By doing this,
we were able to provide the new
equipment as the material became
available and site preparedness was
aligned.”
d
TS
n
e
y
ss
The grandMA3 console at FOH
While CTS has provided support
throughout the facility, the focus for
the majority of the video and lighting
equipment has been in the church’s
worship centre. For visuals, CTS
specified a 9m x 3m (WxH) InfiLED
3.9mm pixel pitch LED wall with two
Novastar MCTRL660Pro processors
and two Barco ImagePro 4K scalers,
backed up by a Ross Video Xpression
Tessera One graphics generation
system and Tria Express Duet video
production server.
. For broadcasting, the setup
includes three Panasonic Varicam
35LT and two EVA1 cinema cameras,
s fitted with Canon Cine-Servo lenses,
y along with two Panasonic HRP100GJ
as and two Skaarhoj RCP v2 networked
camera control units. From Ross
Video, CTS selected TD2S and TD1
TouchDrive switcher panels, an Ultrix
router with Ultriscape multiviewers,
plus remote panels and various
conversion and distribution cards.
The broadcast setup is supported
WAVL Pg26-27 Cross point.indd 27
by two Teradek Bolt 4K LT Deluxe
wireless transmitters, three Atomos
Shogun7 viewfinders, an Adder
Technology KVM system, three
AJA Ki Pro Ultra 12G recorders and
a Tektronix WFM5200 waveform
monitor.
Key lighting is provided by 23
Chauvet Ovation ellipsoidals and
six Rogue R2X washes, with back
lighting covered by an additional 14
Rogue R2X units. Effects are catered
for by 10 Chauvet Maverick Force 1
spots, eight Rogue R1X washes, 16
The luxury of complete control.
Elation Chorus Line 16s and an MDG
Atmosphere ATMe hazer. The lighting
setup is tied together by an MA
Lighting grandMA3 console.
However, the length and complexity
of this project caused many ups and
downs. Often with projects like this
one, there are changes to operational
processes, staff and technology.
Throughout these changes at Cross
Point, CTS has stayed close with the
staff to adjust according to its needs.
ETC’s flagship line of lighting control
“Unique circumstances like this one consoles offers a sleek control interface
highlight the reason CTS places such engineered for your comfort and
a high value on client relationships,” customization. With generous programming
adds Watson. “A client we respected
surfaces and the power to run complex
and cared about found themselves in
back-to-back catastrophes, needing rigs, Eos Apex is the ultimate hands-on,
resources and support. Because professional workspace – powered by the
of that relationship, we could offer ultimate control platform.
immediate help in the short term,
meet daily and weekly needs, and
offer mid-term and long-term support. etcconnect.com/Eos
“This is why we do what we do.
It’s how we believe a relationship-
oriented company should operate
when it comes to the well-being
of its clients. We’re there to offer
help in our clients’ times of need
because of the expertise we’ve
cultivated and the passion and
commitment we have for serving our
clients.”
visual environment technologies
www.crosspoint.tv/nashville
www.ctsavl.com etcconnect.com
27/09/2022 15:59
 PROJECTS

Night and day

Elation house lighting upgrade is like “night and day”
at Orangewood Church in Florida
The colour system also allows the
church to complement and colour
match what is happening onstage,
whether it’s a church service, musical
performance or special event. “I’ve
been able to match the house lights
to all my other pre-existing colour
palettes,” Pagan confirms. “The
lighting rig isn’t large, so this was also
a way to add more colour-changing
lighting to the show and gives me
more options to play with.” When
a dedicated lighting person is not
available, church or school personnel
can easily bring up a variety of colour
and colour temperature looks on a
preset panel.
Orangewood Christian School also
benefits from the system when putting
on plays and other shows. Russell
oversaw the install and, according

MICHAEL PAGAN HAS DESIGNED

and specified a new house lighting rig
for Orangewood Church in Maitland,
Florida, and used Elation’s energy-
efficient Colour Pendant downlight to
improve light quality while opening up a
number of new creative options.
The Presbyterian church in Orange
County is affiliated with Orangewood
Christian School and both the
church and school share a number
of facilities, including a gymnasium,
which on Sundays doubles as a
sanctuary. The space housed an older
system of incandescent lights originally
designed to light sports and other
school activities, a setup that proved
increasingly unsatisfactory for the
church’s needs.
Pagan, an independent lighting
designer, works at the church part of worship, especially when music was a great help throughout the whole to Pagan, is pleased with how power
time, programming lighting for is a key element of the service. process, Pagan adds. efficient the Colour Pendants are – a
Sunday services and events. He “I wanted the worship experience Thirty Colour Pendant units have been low 110W max power consumption per
comments: “The coverage from the for the congregation to feel more installed in the Orangewood Church fixture.
incandescent lights was really dark immersive and bring people into sanctuary. Although the lighting director Initially, the new dynamic house
and blotchy throughout the house. Our what is happening onstage,” Pagan was initially concerned that the seat lighting system at Orangewood Church
technical director, Chris Russell, was says. risers might look blotchy with hotspots, was used in white light only, until
approached by the team about what The lighting designer researched the unit’s uniform flat field output and a special service when colour was
could be done and Chris and I worked possible solutions and visited 41° beam spread allayed any worries. introduced for the first time. “Everybody
on what solutions were available. Once churches in the area with dynamic “I like how smooth the beam is and loves them,” Pagan concludes. “The
we saw how much power we would house lighting systems to see the there is no hotspot whatsoever. It colour really adds to the services and
save with LED, we knew that was impact first-hand. He then contacted worked out perfectly. I also like the the overall impact has been great. The
the way to go.” PRG and talked with company sales saturation of the colours,” Pagan area where the congregation sits was
Thanks to their myriad of design rep, Martee Nuruddin. “He helped us adds while referencing the fixture’s always the darkest and poorest lit area
possibilities, colour-changing and look at solutions and demo products. RGBW colour system. “Usually, red is but now they can see their notes and
white-light-tunable pendant lights We also did a comparative shootout the weakest point on a fixture but the books. The change has literally been
have revolutionised house and and in the end the Colour Pendant Colour Pendant produces a really nice night and day.”
area lighting. They have particular came out on top.” Nuruddin, who red. The variable white also looks great
benefits for a contemporary house unexpectedly passed away in April, for traditional house lighting.” www.elationlighting.com

28 WORSHIP AVL November–December 2022

WAVL Pg28-29 Orangewood3.indd 28 27/09/2022 16:00

 New! Alta 4K Presentation Switchers
Designed for houses of worship requiring the highest
reliability and performance

Image: Pexel.com/Georges-webster
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worship-avl-Nov-Decl22-half-page.indd 1 15/09/2022 18:34:45

er

dy

WAVL Pg28-29 Orangewood3.indd 29 28/09/2022 16:28

 KnowHOW
Four things overlooked in
multi-generational church
space design
Donnie Brawner – founder, owner and CEO of Paragon 360 – highlights the problems
demographics and cultural differences can pose to church design
WITH SO MANY MOVING PARTS
and pieces to the modern church
service, it’s easy to miss important
details that impact the experiences
of guests. As easy as it may seem,
church space design is complicated.
One of the biggest challenges is
the need for today’s church to be
multi-generational. How do you
balance the needs of those long-time
members, who have become pillars
to its existence, while attracting the
younger or unchurched generations?
How does the design of a new build
or a renovation affect the unchurched
and does the design have anything to
do with their resistance or attraction
to the church?
Based on what we have seen in
thousands of multi-generational
church spaces over the last 20
years, here is a list of the four
things that get overlooked most
often in church space design.
1. Experience and
environment
The design should start with the
end user in mind. Too many times
the focus is on a formula for how
many people can fit in a designated
space. If we intend to create
engagement between the stage and
the seat, then our focus needs to
be on the elements that enhance
the listener’s experience. If we are
trying to build a community, then we
need to intentionally design margin
space where connections can occur
and relationships are developed.
Through exhaustive programming
and needs assessment, we must
determine what the right experience
is for each particular church and
each specific space.
2. Acoustics
Crowds are noisy. Whether you are
putting 1,000 people in a room to
worship, 50 kids in a pre-school
play area or 25 people in a coffee
shop, none of them will have a great
30 WORSHIP AVL November–December 2022
WAVL Pg30-31 KnowHow AUDIO.indd 30
experience if they have to shout
to be heard. Acoustical treatment
often gets overlooked by architects
who don’t fully understand the
science necessary to create a
pleasing experience. Flooring, glass,
ceilings, interior furnishings and
walls, all have a significant impact
on the acoustical environment.
Don’t miss this critical element in
the design of your space.
3. Signage and
wayfinding
Signage, wayfinding and obvious
entrances are critical in the design
of church spaces. Nothing is more
frustrating to first-time guests than
not knowing where to go. When
developing a signage plan, your goal
should be to make it obvious and
make it easy for your guests to get
to their desired location as quickly
and effortlessly as possible. The
most embarrassing thing for a first-
time visitor is to make them ask for
directions.
4. Branding
A brand establishes your church
within your community, conveys
your purpose, increases awareness
and reminds others daily of your
mission. It’s more than a logo,
slogan and some wording. It’s
a visual identity and a brand
The quiet and welcoming coffee space at Tabernacle Baptist Church
Example of signage at Tabernacle Baptist Church
promise. Churches have started
spending more time working on
their branding, just like successful
corporations do. What is your
church brand? Why is it important?
How is that tied to your mission?
These are vitally important
questions for a church to answer.
Once that brand is determined, it
needs to be seen throughout the
design of the church spaces. It
should weave its way through the
fabric of the design, from interior
finishes, signage, wayfinding and
colour schemes.
Church design is complicated,
especially renovations of spaces
where there are limitations. At the
end of the day, the design of church
spaces needs to be very purpose-
driven and intentional. Our spaces
should reflect, at a minimum, a
commitment to excellence, a place
for authentic community, a lifestyle of
worship and purposeful discipleship.
They should welcome multi-
generational people from all walks of
life. They should offer connectivity,
excitement, a sense of belonging,
encourage relationships and remove
facility barriers. After all, our goal is
to keep them coming back for more –
and bringing their friends with them.
One such example is Tabernacle
Baptist Church in Carrollton,
Georgia, which was trying to reach
a new generation and new people.
The Paragon 360 team proposed
renovating the lobby and hallway
spaces which would provide an
immediate improvement in guest
experiences. Repurposing unused
library space, the lobby was
expanded and created an open area
for fellowship. The paint colour,
carpet, fabricated finishes, lighting,
acoustics and signage were all
taken into consideration. According
to Tabernacle project manager,
Eddie Adams, “Paragon 360 led us
through a process that has resulted
in a facility enhancement that will be
instrumental in our ministry efforts
for years to come”.
www.paragon360.com
www.tabernacle.org
27/09/2022 16:04
 KL F R
E S NE L
8 FC

GREAT ALONE,
BETTER TOGETHER.
The KL SERIES offers a cohesive
ecosystem of products that
deliver your vision with ease. KL PaR FC
Impact Church, Illuminate Production Services

KL Pane l XL

SCAN FOR
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INFO

WAVL Single Full page.indd 12 28/09/2022 12:58

 KnowHOW

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Chad Rose, CEO and co-owner at LED specialist ReveLux, discusses the challenges
of using cameras with LED display backgrounds and how to overcome them
YOU FINALLY HAVE YOUR NEW
LED wall and nothing can stop you
from creating the worship service of
your dreams … until, out of nowhere,
a squiggly line appears right above
your pastor’s head. What starts
as one line begins to multiply and,
before you know it, your pastor is
asking you to move your new wall out
of the camera shot. You try contacting
the company you purchased it from,
but they are nowhere to be found.
In order to prevent this nightmare
turning into a reality, it’s essential
to prepare yourself for the different
types of artefacts that can occur
when you combine LED videowall and
camera technology.
As wonderful as LED technology
is, making it work with your
camera system can be daunting.
It is essential to be equipped
with the right tools for the job,
and not all LED walls or camera
systems work well together. LED
display technology is widely used
everywhere, from road signs to
high-end movie theatres. All these
various use cases have different
design priorities. LED displays
32 WORSHIP AVL November–December 2022
Livestreaming at Prestonwood Baptist Church
used as camera backdrops must
be for the eye of the camera rather
than the physical eye. Human eyes
can dynamically resolve images
in a way that camera sensors
cannot. Because of this limitation,
the eye of the camera must be
synchronised with the LED display
being recorded. Most professional
broadcast cameras feature a
genlock input. By connecting the
LED display processor and cameras
to the same reference generator,
they can all march to the beat of the
drum. This eliminates the scrolling
lines that are often encountered
when shooting LED screens.
Other artefacts often encountered
with cameras and LED displays
are caused by how the display and
camera sensor process the images.
Most cameras today use what is
known as a rolling shutter. With a
rolling shutter camera, the camera
sensor processes the image rapidly
from top to bottom. Depending on
the speed of this processing, you
might notice small black or grey
lines in the fine greyscale of the
LED display’s image. The faster
the processing, the less noticeable
these artefacts are. Cameras with
global shutters process the entire
image simultaneously instead of
from top to bottom. Global shutter
cameras are the best choice when
budget allows, with rapid process
rolling shutter cameras coming in
second.
In the same way that camera
sensors do not process the entire
image simultaneously, LED displays
rapidly process the image in groups
of pixels. LED displays with slower
scan rates process more of the
image at once, whereas displays
with faster scan rates break the
image into smaller chunks. In the
same way, a slow-rolling sensor
camera can show artefacts in the
greyscale, an LED display with
faster scan rates can deliver the
same artefacts. Balancing these
two dynamics will give you the best
W

WAVL Pg32-33 KnowHow VIDEO.indd 32 28/09/2022 15:25


results. You would have a global
shutter camera and a slow scan rate
LED wall in an ideal world. This is
precisely what you will see being used
in Hollywood, where they are filming
LED screens as set backdrops.
Unfortunately, this technology comes
at a cost. LED screens with slower
scan rates require more expensive IC
drivers inside the panels themselves.
These are not things that can be
upgraded at a later date, as they are
built into the individual LED modules.
Global shutter cameras are also still
relatively new and more costly to
produce. Thankfully, you can often
mitigate the other. A high-quality
LED wall is usually compatible with
a broader range of cameras, as a
global shutter camera can make up
the deficit of a budget LED wall. If
budget is a concern, using a mid-level
camera and LED display produces
good results.
Another challenge with filming LED
walls is moiré, an interference pattern
that is produced when filming patterns.
You have most likely encountered it
when seeing a news anchor on TV with
a checked tie or an announcer with
a small, checkered shirt. This is the
same effect in LED displays as the
pixels are arranged in a tight pattern
of dots. The key to illuminating this
INNOVATION AND
IMMERSION THAT
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WAVL_143x210 Advert-Print.indd 1
WAVL Pg32-33 KnowHow VIDEO.indd 33
Champions Center in Tacoma, Washington
involves utilising the depth of field of
the camera lens. The lower the F stop
used on the camera lens, the less the
image will be in sharp focus. This F
stop number is relative to the size of
the camera sensor. The idea is to get
your pastor or worship leader in sharp
focus while the LED wall behind it is
slightly out of focus. This will cause the
tiny dots of the LED display to blend
into a smooth image.
If you think about it, whenever you
are close to the LED screen, you can
see the individual pixels but, when
you back away, they form a more
cohesive image. When specifying
an LED screen, you always want to
match the pixel pitch or distance
between the diodes with the
distance of the closest viewer. If the
screen is primarily viewed closely,
you want the pixels closer together.
Setting the tone for excellence
Intuitive and fast control interface
Immersive Personal mixing with tactile control
Dante connectivity/power over ethernet
Easy installation/integration
#SETTINGTHETONE
November–December 2022 WORSHIP AVL 33
KnowHOW
If there is more distance between
the viewer and the screen, you
can get away with the pixels being
farther apart. When filming an LED
screen, you shorten the viewing
distance as the camera lens zooms
in. Bringing the screen a little out of
focus relative to the talent can make
up for the camera’s closer view of
the screen. Having the wall farther
back from the talent is another trick.
If budget allows, using a tighter
pixel pitch than what is necessary
for physical viewing is always
advantageous.
While many challenges are
associated with using cameras with
LED display backgrounds, the result
can be stunning when done right.
Finding the right partner to connect
you with the right tools is essential
to making your LED wall as awesome
as everyone wants it to be. There is
no need to go at this alone. While
LED walls and cameras are now
more affordable than ever, you want
to make sure to purchase the best
options and not just the cheapest.
You can create the worship service
of your dreams with the right
choices and keep it from becoming a
nightmare.
www.revelux.com
Scan to hear more
16.09.2022 13:46:47
28/09/2022 15:03
 KnowHOW

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Time to rebuild –
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the lighting team

John Black uses the end of the year as an
opportunity to refocus, redefine and rebuild
AS WE GET NEAR TO THE END
of 2022, it’s hard to forget what
a tumultuous year it has been.
Regardless of where you are in
the world, Covid has probably
impacted you personally, as well
as your work, worship services,
and the volunteers and staff that
you work with. As worship venues
are opening back up, you may
be finding yourself with a lack of
volunteers to help serve on your
lighting team due to prolonged
absences. Or you may have a full
crew, but the technical needs and
requirements may have changed
from pre-pandemic.
Whichever your situation, this
time that we find ourselves in
is an opportunity to refocus,
redefine and rebuild. As we do
this, let’s remind ourselves of
what is truly important – we lead
people, whether that be those on
our teams or those attending the
services that we light. I want to
focus on this aspect as we come
to the end of the year and either
begin or continue the process of
rebuilding our lighting teams.
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Four goals
T
When first approaching the topic
of training a lighting tech team, my Th
mind – as with many tech leaders I te
am sure – immediately focuses in te
towards the teaching of technical th
skills. I often think to myself, co
“there is a task or job to be as
accomplished and I need my team is
members to do that task or job, so ju
I’ll give them the technical skills to re
be able to do it”. m
As I’ve reflected on the needs Teamwork is key to successful ministry ke
around me to rebuild, I’ve Image courtesy of KLANG:technologies and Seven Rivers Church go
narrowed down four goals that ch
I want to always be aware of A people-oriented training plan spectacle and wonder of working pa
as I am training and interacting will help you continually develop, with moving lights, operating up
with my tech team: to value, to maintain and retain individual control consoles and putting on no
equip, to motivate and to grow members, allowing your team a really great visual show. The I
them individually and corporately. as a whole to be stronger, more majority don’t realise the amount of
Though a team member may productive and more effective of work that happens behind the fir
successfully accomplish a task moving forwards. scenes in the preparation of an ef
or job assigned, I may still have event, which can often be less m
failed them if they don’t feel that To value glamorous, long and tiring. of
I value them, that they have a My goal, even before teaching ha
purpose or that they don’t feel I work almost exclusively with technical skill, is to try to educate ta
connected to the rest of the team. volunteer tech teams comprised members on where they fit in to the th
It doesn’t matter if you have of high-school members. Many of team, as well as where the lighting th
a paid staff or volunteer crew. them get involved because of the team fits into the overall production ex

34 WORSHIP AVL November–December 2022

WAVL Pg34-35 KnowHow LIGHT.indd 34 Image courtesy of 27/09/2022 16:21


team when putting on events. Adults
and teenagers, whether paid or
volunteer, will all take on a sense
of ownership and pride in their work
when they know the value of the work
and time they are contributing. When
the days get long or work becomes
monotonous, the feeling of being
valued and a part of something greater
than themselves is vitally important.
This goal is something that will be a
constant, continual process that I try
to work into each day. As the majority
of the work done by the tech team is
behind the scenes, team members
often do not receive praise or gratitude
for their efforts. There are an infinite
number of ways, both large and small,
that gratitude can be expressed. I try
to verbally thank the team at the end of
every day. I also will let the team leave
at the end of a full-day rehearsal or the
final performance of an event and clean
up/shut down the systems for them if
it’s been a long day. Other small acts
of service that seem simple – such
as distributing water bottles before an
event or providing food when working
through meal times – show the team
that you value them.
In my experience, when my team
members feel valued, they will continue
to be involved and, as a result,
continually increase their skills and
productivity. Conversely, when team
members do not feel valued, their
commitment, work ethic and ownership
suffers, which can spread to other
team members and have a negative
impact on the rest of the team.
To equip
The next goal that I have for my
tech team is to equip them with the
technical and non-technical skills that
they need to be able to successfully
complete the jobs and tasks
assigned. Equipping team members
is a continual process that doesn’t
just focus on learning new skills, but
reviewing and reinforcing skills that
may have already been learned to
keep them up-to-date and maintain
good habits. Technology is constantly
changing and I know that due to the
pandemic, I have made changes and
updates that previous members will
not be up-to-date on.
I tend to use two different methods
of training to equip my crews. The
first, and what I’ve found to be most
effective, is what I call “on-the-job
mentoring”. As my team is comprised
of high-school students, each year I
have members graduate and I also
take on new members. To speed up
he the training process, I always have
g the team working in pairs with one
experienced member paired with a
WAVL Pg34-35 KnowHow LIGHT.indd 35
newer member. Through working on
actual events, the new crew members
learn skills and processes – such
as focusing fixtures, console
programming and stage wiring – that
the crew uses on a daily basis, while
contributing and seeing the fruits of
their labour immediately.
The second method of skills training
that I do are focused in-service
days. I try to schedule three or four
in-service days a month with the
entire team. At least one of the days
Cleaning and maintenance helps to keep the equipment and facilities in good shape
will focus on reviewing and practising
skills that I feel need to be reviewed.
For example, as the light board
operators rotate frequently, the team
as a whole may need an update on
some basic programming, such as
fixture patching, recording cues or
new palettes that have been added
to the default show file. Another
day will be a maintenance day,
where the crew learns and performs
basic equipment maintenance and
cleaning. In this way, the crew helps
to keep the equipment and facilities
in good shape and operating
correctly, being good stewards of the
resources that we have. The other
days, I try to focus on either teaching
a new skill or, when getting in new
equipment, unpacking it, setting it
up and teaching the team how to
operate it.
Using these two methods in
combination, the team learns not
just from me, but from each other,
which helps to build team unity and
ownership. The key to equipping is
not to over-do it as it is possible
to burn out team members with
information overload. This is a
reason that I like to use the “on-the-
job mentoring” method of training,
as newer members gain skills in
an active environment where those
skills are used immediately when
preparing for an actual event.
To motivate
The third goal that I have is to
motivate my team members. While
closely tied to the goal of valuing team
members, building motivation involves
ensuring all team members know
what is expected of them, what their
responsibilities are and instilling a
clear sense of purpose.
One of the most effective ways that
I have found this to be successful
is to involve the crew in the creative
decisions in the event planning
process. While this primarily helps
develop a sense of ownership and
pride in the team, it also is time that
lighting design and creative skills
can be taught. Once I’ve identified
events where I can work this into
the schedule, I will plan a number of
“design meetings” with the team to
involve them in the planning process.
The results of these meetings
then provide a production goal
that motivates the team during
the following work days or weeks.
Ensuring that they have a clear
picture of what that end goal is –
even for events that they haven’t
participated in the planning process –
is important in combatting the feeling
that they are just a labour force.
Especially in my situation where my
volunteers are young people, the
feeling of being just a labour force is
perhaps one of the most destructive
feelings they could have and is one I
must be very aware of.
To grow
The last goal that I have in my training
is to grow my members as individuals
into a functioning, effective team. If
there isn’t any room for relationships
to develop and have a bit of fun, then
motivation and value run dry and the
team will suffer.
November–December 2022 WORSHIP AVL 35
KnowHOW
To help create this sense of
connectedness and unity, I try to
ensure that the start of each work
period is relaxed and free for catching
up with members of the team. Though
I only plan about 10 minutes for this, it
gives me the chance to “check in” with
the members and hear what’s going
on in their lives before getting into the
work needing to be accomplished.
When I jump straight into work tasks
without spending this time, that sense
of being a labour force begins to rise,
which puts a damper on the rest of the
work period.
Another way that I grow my team is to
make sure that I plan a “team activity”
one to two times per month. My team
works 5–6 days a week in order to
support the quantity of events that
we do. The team activity day therefore
is a workday without any work. Its
sole purpose is the team – to bring
them together around food, games or
another activity for the sole purpose of
connecting and building relationships.
When gathering feedback from team
members when they leave about
their experience, the most common
response that I receive is about the
community created and how that made
the work enjoyable and the experience
rewarding.
It’s about people
Balancing these four training goals
is how I will rebuild my team to
be effective, skilled, creative and
connected. As a tech leader, it is all too
easy to focus only on the technology
and production but, when training
becomes about the team, then all
of the production work is stronger
and the experience rewarding for my
team members and myself. This may
be a once-in-a-lifetime opportunity to
refocus, redefine and rebuild in this
way. Let’s not waste it.
27/09/2022 16:21
 TECHNOLOGY
Immersive technology
enters a new phase
Richard Lawn explores CODA Audio’s arrival into the world of
3D immersive listening experiences
THE QUEST TO PROVIDE
listeners and audiences with the
most realistic audio experience has
taken a significant upgrade. With a
growing demand to raise the level of
live performances, the need to further
develop immersive sound mixes has
dominated in recent years. From the
adoption of surround audio to more
complex audio accompanying a visual
production, the inclusion of immersive
audio has raised the aural listening bar
and successfully ticks the box of added
value in ever-increasing ticket prices.
Having adopted it into their
workflows, audio technicians are now
working in three dimensions to provide
the listener an audio experience
that fully envelops them in sound.
By moving the interface around, the
object-based approach of enveloping
the audio beyond stereo allows the
audio engineer to deduce the best
loudspeaker output available. Earlier
this year, Worship AVL published
a mini-series of some of the most
prominent immersive technologies
available on the market, including
d&b audiotechnik’s Soundscape,
L-Acoustics’ L-ISA, Meyer Sound’s
Constellation and Yamaha’s AFC.
Further breakthroughs are continuing
to push the technological envelope
and the larger megachurches are
now integrating the technology into
their workflows. Immersive audio
36 WORSHIP AVL November–December 2022
WAVL Pg36-37 Tech AUDIO.indd 36
technology has been credited with
raising the worship experience to
another level. Combining high power,
coverage and intelligibility with its
loudspeaker systems, German
manufacturer CODA Audio has been
enhancing its brand values since
1995 among clientele ranging from
rental production companies to
military applications and houses of
worship. In late 2021, the release
of the Space Hub digital processor
announced the company’s arrival
into the 3D world and another
significant chapter in the company’s
development.
Space Hub was officially launched
at the Tonmeistertagung 2021 event
in Düsseldorf and the 3U processor
now serves as the integral component
within this immersive audio system
solution. Currently capable of
rendering up to 128 audio sources
into 128 outputs, Space Hub features
advanced spatial audio algorithms
for the positioning and movement
of sound objects for 3D immersive
listening experiences. By adopting
advanced 3D audio algorithms, audio
objects can be perfectly positioned
and the audio can be moved in real
time through a three-dimensional
soundstage.
So far, so good. However, CODA
Audio differentiates itself by claiming
to offer perfect timing in the complete
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Space Hub Control positioning screenshot
audio chain. “Basically, immersive domain of the whole audio chain,
sound means the positioning and there is no truly immersive experience.
moving of audio objects in a 3D space Electronics are more precise on the
and this happens in the time domain,” time domain than the speakers and,
explains managing director, Svetly with our DS FIR technology, we can
Alexandrov. “Humans perceive the linearise the phase response of the
direction of sound by comparing the speakers from say 50Hz up to 20kHz
arrival time of transients at either ear, with less than 12ms group delay.
therefore perfect timing in the entire All the CODA speakers incorporate
audio chain is the most essential linear phase response which means
part of creating a true immersive 100Hz will arrive at the same time as
experience. Electronics usually provide 1kHz or 10kHz. They are constant in
a precise transient response but the their time performance. With phase
time-domain characteristics of the linear loudspeakers, you can create
loudspeakers are the most critical part. a true immersive space and precisely
“As an immersive experience, Space position some sounds where you
Hub goes beyond the processor – want without any phasing. This is
it’s the system in total,” furthers the difference when compared to
Alexandrov. “Without a precise time conventional immersive systems.”
27/09/2022 16:23

Alexandrov further highlights why
linear phase loudspeakers are an
essential part of this proprietary
technology. “The principal advantages
of linear phase loudspeakers become
more important in multichannel 3D
audio. Ensuring phase accuracy with
no differences in timing between the
various loudspeakers, the essential
timing information is transmitted
to the listener with perfect phase
coherency and transient accuracy.”
As a designer and manufacturer
of transducers and drivers, CODA
is one of the few developers that
can create bespoke electroacoustic
loudspeakers for its customers. Its
high-brand credentials in houses
of worship have been cemented by
providing superior speech intelligibility
in highly reverberant heritage settings.
Compact systems including CoRAY,
TiRAY and APS offer discreet but
powerful solutions that deliver
maximum quality and coverage
without any aesthetic compromise,
while ViRAY- and AiRAY-based systems continues Alexandrov. “The demos
fulfil the concert-style charismatic
requirements of today’s largest
congregations.
Most recently, CODA removed the
wraps off its dedicated Immersive
Audio facilities at the company’s
headquarters in Hannover. Designed
toProjet1_Mise
allow visitors aenhands-on
page 1 18/03/2022 facilities
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experience of the technology, the new
demo rooms – dubbed the Auditorium
and the White Room – will allow
CODA’s engineers to communicate
the technology and philosophy of
Space Hub.
Space Hub Control DAW plugin
“We’re excited about the
development of the new facilities,”
which took place at the Tonmeister
exhibition were well-attended and
the reaction was very enthusiastic,
with a general feeling among those
in attendance that our approach to
immersive sound is setting a new
standard. The creation of our new
11:06 Page 1 audio professionals
will allow
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to bring their own content for testing
and gain a comprehensive insight into
the workflow and the way object-based
mixing works in 3D.”
The rooms are equipped with 3D
setups comprising CODA Audio
HOPS8 loudspeakers on several
levels, SCV-F sensor-controlled
subwoofers and the pivotal Space
Hub immersive processor. A second
Space Hub serves as a backup unit
to demonstrate redundant system
configuration. In addition to content
feeds from various DAW programmes,
the native Space Hub control
software, a mixing console with Space
Hub remote control interface and an
TECHNOLOGY
iPad with touch-surface-optimised
OSC control are available. A tracking
system will follow shortly.
“Our motto is ‘Hearing is Believing’
and we’re certain that anyone who
visits our Immersive Audio facilities
will know exactly what we mean when
they hear what we have to offer. As
well as an incomparable listening
experience, we aim to educate and
inform our visitors about every aspect
of the technology at work and make
clear the possibilities it can open up in
so many applications.”
Following its successful trial at the
2021 fully immersive Utopia Festival
in the south of France, many audio
engineers including Damien Ripoli
were happy to appraise the latest
immersive technology. “Whatever the
source is you’re putting in the box
and you want to listen to, you always
get a nice timbre and you recognise
your mix and your sound directly. This
for me is a big plus as it saves a lot
of time. With other brands, you worry
about phase coherence between the
different products.”
Following the successful launch of
Space Hub, a world of exploration
awaits as CODA boldly goes where
few other developers have gone
before.
www.codaaudio.com

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November–December 2022 WORSHIP AVL 37

WAVL Pg36-37 Tech AUDIO.indd 37 28/09/2022 15:06

 TECHNOLOGY
Troubleshooting
and monitoring video
Casey Hawkins introduces two of his favourite tools
for overseeing and improving video content
IT IS HARD TO DISCUSS
troubleshooting video problems
without also discussing video
monitoring as well. In my 34-
year career in video production
and broadcast operations and
engineering, I have monitored a lot
of video and I have troubleshot just
about as much. Of course, I have
done plenty of troubleshooting with
analysers where I don’t even see the
video image itself during the process,
but even an analyser on a transport
stream or video signal is a “monitor”.
In this article, I am going to talk about
two of my favourite pieces of gear
that I have in my toolbox that I use
frequently, if not full-time.
First, I will talk about the Digital
Forecast Bridge X TS Trouble Shooter
test set. I have had this device for
a couple of years now and from
day one I asked myself how I ever
worked a day without it. Everywhere
I go on the campus of the church I
work at I need this test set. It not
only displays video on a monitor,
but it can also show you audio
meters, waveform, vector scope
Digital Forecast Bridge X TS Trouble Shooter
38 WORSHIP AVL November–December 2022
WAVL Pg38-39 Tech VIDEO.indd 38
and SDI jitter. It will show CRC/
TSR/loss errors, estimated cable
length (which has proven to be very
accurate), signal format, presence
of HDCP (and if you don’t know how
important that is, you probably will
someday) and more.
But it does more than monitor and
analyse. It generates. Nearly as
often as I need to monitor a signal,
I need to generate one. Make some
quick settings changes and I have
a test signal generator that can
produce several different patterns
as well as tone. I really want another
one of these so that I can generate
and monitor at the same time.
This tester can handle signals over
SDI, HDMI, CVBS (composite video),
component video, VGA, DVI and
analogue audio or AES/EBU. In and
out. Additionally, if I want to install
this for full-time studio monitoring,
it has an HDMI output for external
display so that I can display it on any
size screen I want.
If you are not familiar with when a
device like this would be beneficial,
then I will explain. Several years
ha
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in
m
MEET THE te
AUTHOR pl
clo
Casey Hawkins is the director Sh
of video engineering and IMAG en
operations for Green Acres Baptist HD
Church in Tyler, Texas, a Southern er
Baptist megachurch with over ar
17,000 members. Having begun th
his career in 1990 volunteering at su
his childhood church in Fullerton, fie
California and later at Green Acres th
in Tyler, he spent the past 25 years Casey Hawkins su
in broadcast television working for ho
multiple television stations in the US. He has worked as a broadcast I
technician for a major telecoms company, managing national and on
international television broadcast signals over a switched fibre-optic in
network. He also owned and operated an independent video production tim
firm in Tulsa, Oklahoma for 10 years before returning to Tyler in 2016. It
gr
a
ago, I was working on our video feed break up. HD-SDI would not even en
from the Worship Center platform to pass. br
our broadcast suite. We had always Quick side bar: SD-SDI (standard a
sent analogue composite video over definition 525-line video over BNC th
that line, and I wanted to upgrade it cable) has a transport rate of fe
to HD-SDI. But the second I tried to 270Mbps. HD-SDI at 720p or 1080i br
pass even SD-SDI, the signal would has a transport rate of 1.5Gbps, wa
1080p is 3Gbps, 4k is 12Gbps. sy
Therefore, you may need better ca
cable to pass HD-SDI and you will Fr
definitely run into shorter maximum it
cable length thresholds with HD than fa
you do SD digital or analogue video. Fr
So, at this point, I figured I was wi
running into a cable length issue. th
But why? Just assuming the path
that the cable was taking from point
A to Z was direct (a homerun), I
estimated we were below the 90m
that HD-SDI is spec’d for. But unless
you know, you really don’t know.
I was guessing. So, I left the line
analogue until I received this test
set where I could then really find out
what was going on.
Once I received the Trouble
Shooter, I set out to figure this out.
I placed one of my field cameras
on bars and used its SDI output
to output HD-SDI at the platform
connection which, of course, did
not make it into the broadcast
suite just like before. But across
the hall from our broadcast suite,
there is a utility closet where we
27/09/2022 16:30

have a rack of equipment where
many of our building distribution
video lines demark. We have tie
lines from that closet over into our
broadcast suite. From that closet,
video gets distributed all over the
Worship Center part of our campus.
Our feeds to all our hallway IMAG
monitors demark in that closet as
well as some fibre transmitters
to our Chapel and Student Center
buildings. There is a lot going on
in that room, so I decided to start
my troubleshooting there since,
technically, the video line from the
platform should be a homerun to this
closet. When I placed my Trouble
Shooter analyser on the closet
end of that platform cable, I saw
HD video perfectly and without any
errors. The cable length was showing
around 90m to boot. I had decided
that the hop over into our broadcast
suite from the closet’s demark jack
field was just barely putting me over
the distance threshold for HD-SDI to
succeed. Hard to believe that short
hop was the culprit, but it was.
I then placed the Trouble Shooter
on the closet end of the tie line over
into the broadcast suite but, this
time, I used it as a test generator.
It saved me a trip to the platform to
grab my camera. Once I generated
a signal on the tie line at the closet
end, I saw my test signal in the
broadcast suite. Then I knew I had
a solid signal from the platform to
the utility closet and I had a great
feed from the utility closet to our
i broadcast suite. At that point, I
was confident that I had a working
system, I just needed to overcome a
cable length issue. I did that with a
Freak Show SDI signal amplifier, and
it has worked great for years without
an fail. In fact, I have bought another
. Freak Show for the same problem
with a different feed since then. At
this point, all I had to do was ask if
s
Sign up to keep up
Join our Worship
t
WAVL Pg38-39 Tech VIDEO.indd 39
Decimator MultiViewer
I wanted to place the Freak Show at
the platform end or the utility closet
end. I chose the closet because that
meant less gear in the floor pocket
on the platform. It is safer in the
utility closet.
I am not saying that I could not
have figured this issue out without
the Trouble Shooter. However, it
would have taken longer because
I would have had to assume that
there was something else in the
line that was a problem. That would
have just wasted my time. What
this device did was provide me with
the confidence of what the problem
really was, and quickly. When you
have a lot of video engineering
tasks like I do, then saving time is
paramount.
Another time this was a great tool
was when a travelling road show
came to our campus and all they
needed to do was tie their lighting,
audio and video systems into ours.
Their video “engineer” told me he
would hand me 1080i/59.94 which
is what I told him I needed. He was
coming off a Decimator MD-HX
(which is another one of my favourite
tools in the world), so I trusted he
mailing list
Decimator MultiViewer display/output
was indeed handing me that format.
But when I tied him into my system,
there was no signal. Instead of
going back and forth and playing
the blame game and wasting tons
of time and reputations, I placed
my great Trouble Shooter on the
end of his cable and discovered
he was sending me 1080/60p. I
simply advised him of that, and he
changed his Decimator settings to
1080i/59.94 and all was good.
November–December 2022 WORSHIP AVL 39
TECHNOLOGY
Finally, when speaking of
monitoring video signals and
troubleshooting problems, it stands
to reason that I recommend another
tool I like in my arsenal. It is the
Decimator MultiViewer. They make
several different configurations of
this device, depending on how many
signals you want to monitor. I use
the six-channel unit at the church
for monitoring many of our sources
that air on our cable TV channel. It
has looped SDI inputs and SDI and
HDMI outputs. Essentially, this is
a portable and customisable multi-
viewer. You can attach a computer to
it via USB to set up the parameters
such as how many channels, the
presence of audio monitors for each
input, screen arrangement, source
titles, safe area indicators and
more. These devices can really help
you troubleshoot signal issues by
providing you a monitor point.
Between the Digital Forecast
Trouble Shooter and the Decimator
MultiViewer units, you can cut
down your time hunting down video
problems and, for their price, they
will pay for themselves in no time.
www.worshipavl.com
28/09/2022 12:43
 TECHNOLOGY
Light through the ages
Herbert Bernstädt, product specialist, light technology at Cameo, looks at how architectural
lighting has developed over the years and the product types on the market today
Vilaka Sacred Heart of Jesus Church in Vilaka, Latvia Image courtesy of Ērika Baltiņa and Alvils Baltiņš
FOR ORIENTATION PURPOSES
alone, and well before electrification,
it was important that light shone into
parish buildings. With developments
in architecture, light openings were
designed and positioned in such a
way that in specific seasons and at
specific times, certain areas in the
house of worship, such as the altar,
were highlighted, whereby the sun
would shine through and bathe the
altar or preacher in divine light. With
the emergence of coloured glass,
stories could be told in the glazing
of the windows and the colours
created a special, otherworldly
atmosphere in the room.
Until recently,
electrification was
Cameo F1 T compact Fresnel
spotlight with tungsten LED
40 WORSHIP AVL November–December 2022
WAVL Pg40-41 Tech LIGHT.indd 40
mainly used for functional lighting
for orientation purposes, and
actually should be described as
lighting for cleaning. Filament bulbs
and sometimes discharge lamps
provided a certain basic brightness
so that church cleaners could see
the dust in the corners.
The advent of LED lighting
technology has made a
fundamental change possible. On
the one hand, there are physical
advantages such as energy
savings, or greater options with
existing connected loads, as well
as the lack of harmful radiation on
the historic frescoes and plastics
from the LED light. Current LED
white light can deliver such a
high-quality light that it can
only be distinguished from
halogen or incandescent
light with a high- Simply changing the light colours gives a room a completely different character Image cou
quality light meter.
On the other long distances or broad-beam theatre or at a concert. And this pe
hand, and this is the spotlights for uniform illumination is also necessary today, because a
biggest change, there across the entire area. Light in all houses of worship have long been Li
are LED spotlights with conceivable colours and white light multifunctional rooms, which are an
different light colours and with colour temperatures ranging used for worship, festivals and As
dispersion characteristics. from warm to cold. In addition, the funerals. 6–
For example, hard light for colour, brightness, dispersion and It would be nice if different lighting su
hard shadows and contours, soft even direction of light from these moods were available for different of
light for soft brightening without spotlights can be changed at the events so that light could be used ge
shadows, narrow-beam spotlights push of a button, in the same to emphasise the message of the wa
for accentuating or bridging way that we experience it at the word. Lighting moods are usually Fo
27/09/2022 16:33

usually already in situ. A cable does
not necessarily have to be laid for
data transmission to control the
light. Here, wireless transmission
such as W-DMX now works very
reliably. (W-DMX = wireless DMX –
l wirelessly transmitted DMX
protocol. DMX is the
common
lighting
Cameo iDMX stick for wireless
control without cables
control protocol for spotlights that
change colour or brightness at the
push of a button.)
Unfortunately, despite all the
possibilities that are available
today, mistakes can be made.
The room can be made bright,
but people may then have
difficulty reading the hymn book.
Or luminaires with a poor colour
rendering are used, making the
paintings on the wall appear faded,
grey and difficult to recognise.
There is a tendency for this to
appear when filament bulbs are
character Image courtesy of Ērika Baltiņa and Alvils Baltiņš
perceived unconsciously but have replaced with energy-saving bulbs.
a significant impact on perception. From this experience, we can
Light can make a room beautiful now also understand the great
and festive, or sober and cold. scepticism towards LED light.
As a rule, it has been shown that Therefore, before any conversion
6–8 different basic moods provide or modernisation of the lighting in
g sufficient variety for different types a house of worship, advice from a
of events. Religious buildings are specialist with proven experience in
generally listed. Cutting a slot in the religious buildings, from a lighting
wall for your cable is not allowed. designer, is necessary. It is best
Fortunately, the power supply is to look at completed conversions
WAVL Pg40-41 Tech LIGHT.indd 41
before placing a
planning order. An
electrical or
lighting planner
who previously
only calculated
light for offices and
exhibition halls
often does
not know the
special needs
of a house of
worship and consequently
asks the wrong questions in
order to create an appealing and
emotional lighting concept. Lighting
designers from the theatre and
show industries are usually more
suitable in this context.
The costs associated with
planning are definitely a good
investment, considering that this
lighting framework will be in use
for the next 30 years. As modern
LED spotlights can continuously
change the colour and dispersion
of light, you can easily redesign
the light after a short time if you
want to make the room appear
different, without having to replace
the lighting system. You simply
reprogramme the light scenes.
This makes it possible to optimally
meet different requirements
without further expenditure. When
selecting the lighting control, do not
attempt to use the heating system
control, even if it is recommended.
This is because it is usually very
complicated to convert to create
a light scene. Furthermore, a
lighting control system should
also be easy for non-experts to
operate. Pulling up on a lever or
pressing a button should make the
November–December 2022 WORSHIP AVL 41
TECHNOLOGY
change immediately visible to avoid
uncertainty.
In the case of spotlights, it should
be ensured that the dimming, which
usually takes place via pulse width
modulation (PWM), is well above
400Hz and can be switched to higher
frequencies. To explain, an LED is
dimmed by switching an LED on and
off very quickly. We perceive the
average value of the cycle time as
a dimmed brightness. Frequencies
below 400Hz can cause discomfort,
poor concentration or headaches.
Switchable, much higher frequencies
are required so that, for example,
camcorders running during a wedding
do not start flickering if your sampling
frequency is close to the PWM
frequency. When used in a house
of worship, it is just as important
that the spotlight is able to operate
completely silently. Unfortunately,
this is not a matter of course for
LED spotlights that offer functions
such as DMX control, colour change
or variable zoom settings. There
is nothing more annoying than a
constant fan noise during a service.
So, it should be possible to switch
off the fan of the spotlight, even
when it is lit up. It would be best
if such functions could also be
controlled via DMX. Profile spotlights
are used for contour-rich hard light.
Their adjustable shutters make it
possible to limit the cone of light so
that it does not fall onto unwanted
areas such as the floor in front of the
altar, or for framing a painting.
A smooth edge of light that allows
you to seamlessly line up multiple
spotlights to illuminate a large area,
or with an adjustable beam angle
to create a narrow cone of light for
intense accentuation – this is what
Fresnel lens spotlights or short
steps offer (due to the staggered
arrangement of the Fresnel lens).
Floodlights or PAR spotlights are
used to illuminate columns or walls
where it is not necessary to change
the beam angle.
With modern lighting control and
LED lighting devices, a church can
literally be transformed into an
experience venue. Lighting design
makes it possible to reflect the
multimedia world, the fast pace and
dynamics, in order to then redirect
to a phase that implies calm and
contemplation, which again gives
us strength and courage. Especially
at this time, we need more visual
incentives with light than ever
before to find a common ground
with the community in the current
environment.
www.cameolight.com
27/09/2022 16:33

PRODUCT SPOTLIGHT
DPA kicks to the beat of the drum
The 4055 microphone can be placed either inside or outside the kick drum
DANISH MANUFACTURER DPA
Microphones has released its
first-ever kick drum microphone.
The 4055 Kick Drum microphone
is a specialised kick drum mic
for the low-frequency, high-SPL
instrument. Different from
traditional kick drum mics, the
new addition is a durable mic
solution that is not pre-tailored to
any specific sound, allowing sound
engineers to shape the sound
exactly as desired. The mic is
suited for a variety of applications,
such as pop, rock, jazz, folk
or any other house of worship
musical style. According to the
manufacturer, it has been built to
withstand the rigours of life on the
road and or in fixed installations.
With an intentional use for kick
drum-specific applications, the
4055 is said to deliver the true,
clear sound of the instrument.
The mic also offers a linear
frequency response, both on-
and off-axis, which reportedly
results in a very tight, natural,
well-defined sound. The low end
is “punchier” and dials in the
42 WORSHIP AVL November–December 2022
WAVL Pg42-43 Prod Spot.indd 42
right setting for the beater, while
removing some of the midrange is
said to be easier than before.
The shape of the DPA 4055
is another feature that sets it
apart from other kick drum mics.
Its asymmetric design makes it
easy to position when slid into
any size drum without risking a
tear in the drum skin. It can also
be placed both inside or outside
the kick drum, so finding the
ideal placement is described as
quick and effortless. Additionally,
the 4055 has a large housing
and ample wind damping foam,
positioned in front of the capsule
SPONSORED BY
behind the grille, to deal with
turbulence in front of the drum
holes. This is accomplished
without compromising on sound
pickup or quality.
“We are very excited
for the creative
possibilities that
this new kick drum microphone
provides in both live and
recording applications,” said René
Mørch, product director, DPA
Microphones. “While people turn
to DPA for our miniature solutions,
we know that they are also used
to using a large kick drum mic
that can handle high SPLs and
dampen the inherent wind created
by the movement of the drum
skin. We took all this into account
when designing the 4055 Kick
Drum mic and we worked with
several engineers throughout the
development to create a solution
that is large, yet unobtrusive.”
This new kick drum mic exhibits
the same qualities as all DPA
directional mics with a flat on-axis
and a very controlled, linear off-
axis. Thanks to this flat curve, the
sound of the 4055 can be tailored
as necessary, depending on what
genre is being played. Unlike other
drum mics, users can reportedly
hear the differences in sound
when the DPA 4055 mic is placed
at various angles to the kick drum.
Being a condenser mic, it is fast
and produces a tight and clean
sound, even at very high SPL (max
SPL is 164dB).
However, the DPA 4055 is not
limited to the kick drum. It works
equally well on other instruments,
such as electric guitar cabinets,
bass and horns. Its flat frequency
response and ability to bring
uncoloured sound works well on
many instrument types.
www.dpamicrophones.com
27/09/2022 16:35
THE PALETTE OF
CREATIVI
 NEWPRODUCTS
Adamson takes new
approach to object-
based mixing
Marking its entrance into the immersive audio market, Adamson
Systems Engineering has unveiled the Adamson Fletcher Machine
THE FLETCHER Machine is an
audio rendering processor promising
simple operation with highly efficient
spatialisation tools. Described as an
entirely new development in object-
based mixing, it utilises amplitude
and time localisation to ensure that
objects are clearly perceived at their
intended position. The rendered
signals that are sent to loudspeakers
are calculated from the object’s point-
of-view, which the manufacturer says
ensures the best spatial coherence
for most listening positions.
The Stage Unit is a 3U rackmount
device capable of controlling either
64 or 128 inputs and outputs, with
the more compact Traveller Model
being able to handle either 32 or 64
inputs, paired with 32 outputs. Both
devices are available with hardware
configurations operating in AVB/MADI
or Dante audio at 48kHz or 96kHz. All
configurations reportedly keep latency
at a low 1.33ms.
The platform’s user interface is
based on a digital mixing desk
approach and includes a complete
set of mixing tools, including EQ and
compression for each object, up to
four auxiliary sends and up to eight
VCAs, loudspeaker positioning in
three dimensions and a high-quality
integrated reverb with “vast amounts
of control”. The Fletcher Machine can
also receive OSC and MIDI messages
so it can also be controlled using
external devices, and it can be
interfaced with tracking systems to
accurately track object movements.
44 WORSHIP AVL November–December 2022
WAVL Pg44-57 Products.indd 44
AV • LIGHTING • LIVE SOUND • INSTALLATION • BROADCAST • RECORDING
IS213
Remote operation software is
available for either Mac or Windows
operating systems.
With the introduction of the IS213
subwoofer and the IS5c coaxial
loudspeaker, the manufacturer
has also extended the IS-Series.
Intended for use in ground-stack
configurations and small spaces,
the IS213 subwoofer is a compact,
high-powered subwoofer. The
enclosure is loaded with two 13-inch
ND13-S Kevlar neodymium drivers
that incorporate the Canadian
brand’s Advanced Cone Architecture.
Mounted in an efficient front-loaded
enclosure, the IS213 is housed in
marine-grade birch plywood and is
equipped with two front and two rear
speakON NL4 connectors or barrier
strips. Integrating handles for lifting
and rubber scuff guards on the top
and bottom for mating with additional
IS213s when vertically stacked, the
handles can be removed to allow it to
fit into tight spaces.
Designed as a fill cabinet or as
a standalone loudspeaker within
smaller applications, the IS5c is
A–ZCONTENTS
Adamson Systems Adamson Fletcher Machine 44
ADJ Focus Flex 56
Alcons Audio CRS12/9090 50
APG SPOT2.6 50
ARRI Orbiter LiOS2 update 57
Audac VIRO5 49
Audiofocus Carys C6 and C15LS 49
Blackmagic Design ATEM Constellation HD 54
Chauvet Professional Maverick Storm 2 BeamWash 55
Claypaky Volero Batten Aqua 57
CODA Audio HOPS12T 48
d&b 5D 51
Elation Proteus Rayzor Blade 56
High End Systems SolaPix 19 XT 57
HK Audio Polar 8 46
Ikegami UHK-X750 54
JBL VTX A6 / B15 46
K-array Thunder-KS / Kommander 48
Kling & Freitag VIDA L update / CA 106 PRO 51
L-Acoustics LA7.16i / L-SMART 52
Lumens VC-A51P / VC-A51PN 54
Magewell Pro Convert AES67 52
Matrox ConvertIP / ConductIP 55
Prolights EclNanoPanel TWC 55
RCF TRK PRO Series 47
Renkus-Heinz PCX Series 48
RØDE RØDECaster Pro II 53
Stagetec Avatus S, D, C and E 51
Taiden HCL-804A 50
Vari-Lite VL3600 Profile IP 56
Yamaha STAGEPAS 1K mkII / DXL1K 47
IS5c
a compact, lightweight, passive with available accessories. Both
two-way coaxial loudspeaker. the IS213 and IS5c can be fully
Offering a 100° conical dispersion weatherised.
pattern, the enclosure comprises a In brief, Adamson has released
1.4-inch dome compression driver the latest update to its Blueprint AV
coaxially combined with a 5-inch LF proprietary audio system design and
transducer. Housed in marine-grade simulation software. Version 1.3.2
birch plywood, the IS5c is equipped adds profiles for Adamson’s newest
with two speakON NL4 connectors IS-Series cabinets, the IS213 ultra-
and a two-point barrier strip. A plate compact, install-focused subwoofer
and screw rigging system located on as well as the IS5c coaxial point
the top and bottom of the enclosure source enclosure.
promotes installation within a variety
of applications when combined www.adamsonsystems.com
27/09/2022 12:12
 The world has emerged richer with never-before-seen technologies. Pew Research Center
predicts that by 2025, the world will tele-everything – telework, telemedicine, virtual schooling,
e-commerce and more. This necessitates greater reliance on AI to mitigate the consequent
increase in security risk. All these are unfolding at unprecedented speed – driven by
Professional AudioVisual (Pro-AV) technologies.
Discover the latest Pro-AV solutions that are transforming every industry.
Learn how they can take your business further – beyond a post-pandemic future.
Gain insights into trends and developments from technology experts and industry leaders.

2 - 4 November 2022
Bangkok International Trade and Scan here for Scan here for
Exhibition Centre (BITEC), Thailand information on the information on the
www.infocomm-sea.com exhibition conferences

Organizer: Event Manager: Supported by:

WAVL Single Full page.indd 12 28/09/2022 15:20

 PRODUCTS

HK forecasts Y
Polar front S
extension A
ST
ha
DESIGNED TO deliver optimal m
sound in confined spaces and for by
smaller stages, HK Audio has re
developed the Polar 8 as a highly th
The VTX A6 with the B15 portable, smaller addition to the F
Polar 12 and Polar 10 speaker of

VTX additions promise big-system sound systems. The subwoofer’s

birch plywood 13kg enclosure
12
dr

without the footprint incorporates a 1,200W amplifier

TWO NEW cabinets have been added
to JBL’s VTX line array series in the
form of the VTX A6 element and B15
arrayable subwoofer. The dual 6.5-inch
passive array element and 15-inch
subwoofer provide a more compact
footprint while retaining big-system
clarity and coverage. Suitable for use
in small- and medium-sized touring
and fixed installations, the A6 and B15
aim to provide versatile options for
houses of worship.
The A6 6.5-inch passive two-
way line array element functions
as a standalone system or as a
supplement to larger VTX systems. It
houses two custom 6.5-inch woofers
and a 3-inch annular-diaphragm
compression driver and features
JBL’s patented Radiation Boundary
Integrator (RBI) and Differential Drive
dual-voice coil, dual-magnet woofer.
The cabinet provides low-frequency
extension to 6Hz and 134dB max SPL.
The low range can be further
extended with the B15, with two
versions available: the arrayable B15
and the B15G, which is designed
without rigging hardware for ground-
stacked applications. The B15
features acoustic advancements
such as SlipStream double-flared
exponential ports and Differential
Drive dual-voice coil design and is
based on the manufacturer’s new
2285H 15-inch woofer.
The A6 uses the VTX A Series’
patented rigging system. Users can
set splay angles while components
are on the ground, then, once the
system is suspended, a locking
mechanism automatically secures
cabinets in designated positions.
The B15 has the same cabinet width
and suspension hardware as the A6,
allowing the two products to be used
together in flown and ground-stacked
configurations. The B15 supports
cardioid array configurations. The
cabinets themselves are constructed
from exterior-grade birch plywood
with a black Duraflex finish, intended
to withstand the harsh conditions of
touring and outdoor installations, and
feature powder-coated, hex-perforated
stainless-steel grilles with acoustically
transparent cloth backing.
Including dual 6.5-inch and dual
10-inch powered line array elements
SRX900 Series
along with 18-inch and dual 18-inch
powered subwoofers, the JBL
SRX900 Series has been designed
for rental companies, fixed
installations and musicians seeking
to combine performance and
portability.
With a cabinet design created
for easy handling, fast rigging,
minimal space displacement and
streamlined transport, the SRX900
Series provides high power handling
transducers, precision waveguides
for accurate pattern control and
user-configurable DSP and design
and management software tools for
hands-on control from any computer
or mobile device. Other features
include the manufacturer’s Radiation
Boundary Integrator, which mounts
both the high- and low-frequency
transducers on a single horn,
improving horizontal dispersion while
minimising cabinet size. A proprietary
waveguide provides cabinet-to-
cabinet summation for reportedly
seamless front-to-back coverage, and
a large horn extends low-frequency
control and reduces unwanted energy
behind the array.
with 24-bit DSP and an 8-inch
am
an
long-excursion woofer that is th
The SRX900’s 2432H-3 capable of operating down to pe
compression driver features a 50Hz (±10dB). Optimised for an
neodymium magnet structure, 3-inch powerful midrange response, the ne
titanium diaphragm and a 1.5-inch top section is loaded with six so
exit. The woofers are based on JBL’s 2.5-inch neodymium midrange fle
Differential Drive dual-voice coil, dual- drivers with a 1-inch voice coil in
gap design, which reportedly delivers a curved column arrangement.
better heat dissipation, lower power Tuned to project a 120° throw
pattern and impede feedback,
the Polar 8 can also be adopted
as a stage monitor.
The input panel
comprises two
mic/line channels,
one aux channel
for music players
and a Bluetooth
TWS for connecting
two Polar 8s to
form a fully fledged
stereo system. The
compression and wider dynamic range mixer’s settings
than conventional single-coil designs. can be stored in
The SRX900 models feature five presets for
built-in DSP that is said to provide future access and
everything users need to optimise audio streams can
and tune their systems, including also be rendered
24-band parametric EQ, 2,000ms of wirelessly via
delay and gain control. JBL’s Array Bluetooth 5.0. The
Size Compensation filter corrects for system comes
different array sizes, while the FIR- complete with a
based Throw Distance Compensation padded gig bag
filter compensates for air-imposed for the columnar
sound loss, for more uniform elements and
sound distribution. A rear-panel a padded cover
LCD provides access to key control to protect the
features. subwoofer in
The SRX900 systems can be transit.
deployed in a variety of ways, from
pole-mounted to ground-stacked to www.hkaudio.com
flown arrays of up to 16 cabinets.
A three-point rigging system is said
to make suspending systems safe
and easy, regardless of size or user
experience. The SRX900 products
are designed to work with other
JBL touring products, thanks to
common voicing targets and phase
characteristics.
T
pro.harman.com

46 WORSHIP AVL November–December 2022

WAVL Pg44-57 Products.indd 46 27/09/2022 12:13


Yamaha unveils second-generation
STAGEPAS 1K portable PA
A SECOND generation of Yamaha’s
STAGEPAS 1K portable PA system
has been unveiled by the Japanese
manufacturer and is complemented
by the launch of the DXL1K, a user-
requested sister system that omits
the onboard mixer.
Featuring a high-frequency array
of 10 1.5-inch speakers and a
12-inch bass-reflex subwoofer, all
driven by an integrated Class‐D
amplifier, the STAGEPAS 1K is
an all‐in‐one portable PA system
that provides professional audio
performance from a small footprint
and slimline vertical profile. The
new mkII variant adds enhanced
sound pressure levels and more
flexible remote control capabilities.
RCF TRK PRO interfaces with musicians
WITH THE introduction of the
TRK PRO Series, RCF has created
USB 2.0 bus-powered audio
interfaces for music production
and content creation. Comprising
balanced connections, ultra-
linear mic preamps and low-noise
converters, the TRK PRO Series
has been designed to record
and monitor with detail. The TRK
PRO 1 is a small one-in/two-out
interface and the TRK PRO 2 is a
two-in/two-out model with zero-
latency monitoring and removable
rackmount ears.
Features include mic and
instrument/line combo inputs,
independent gain control with
signal-peak LED, independent
headphone volume control and
an LED output meter. Housed in a
metal chassis and integrating linear
mic preamps and 24-bit/192kHz
converters, audio performances
can be directly recorded to any
computer-based DAW. A front
control panel includes variable
direct/software mixing ratio,
independent headphone volume
TRK PRO 2
WAVL Pg44-57 Products.indd 47
A fully redesigned, 1,100W
Class-D amplifier delivers
125dB SPL, while functionality
is enhanced with STAGEPAS
Controller, a new software
application that allows
users to remotely control all
STAGEPAS 1K mkII parameters
using an Android or iOS device. In
addition, a scene recall feature
allows for the saving and recalling
of settings for individual songs
or applications, reducing the
setup time during rehearsals or
performances.
The DXL1K shares an identical
power amplifier, speaker arrays,
cabinet construction and slimline
profile, without the onboard
ART 9-AX
and +48V phantom power.
Connecting to iOS or Android
devices, both models are USB
class-compliant.
Over a quarter of a century
on since its original launch and
RCF continues to evolve the ART
series of portable loudspeakers.
Combining all of the ART 9-A’s
The STAGEPAS 1K mkII with
the DXL1K
characteristics together with an
onboard digital mixer, Bluetooth and
advanced control capabilities, the
ART 9-AX is the latest addition to
the family.
Operating solo or paired with other
speakers and subwoofers in wired
or wireless mode, the ART 9-AX’s
available functions and parameters
are accessible from the rear panel
via a capacitive colour touchscreen
with encoder knob. Alternatively, a
dedicated app can be downloaded
to iOS and Android devices. RCF
LiveRemote allows full control of
the internal ART 9-AX engine to
recall and save presets, set desired
volume levels, perform tuning and
adjust EQ, reverb, compressors and
FX settings. Adjustments can be
made to True Resistive Waveguide,
FiRPHASE and Bass Motion
Control. The 2,100W biamplified
XPS 16K
Class-D electroacoustic design
also incorporates 48V microphone
preamps and line inputs, an internal
six-channel digital mixer with
advanced DSP, Bluetooth audio input
and remote control for both single
and dual paired speakers.
The XPS 16K amplifier boasts 4x
4,000W continuous power outputs,
routing options with four analogue
November–December 2022 WORSHIP AVL 47
PRODUCTS
mixer. In addition to being
suitable for use as a standalone
powered speaker system with
a separate audio mixer, linking
STAGEPAS 1K mkII and DXL1K
systems provides increased
coverage and output power for
larger‐scale events. A 1:1 system
can be set up to deliver either
stereo or mono sound. If the
STAGEPAS 1K mkII is set to deliver
mono audio, the inputs of the
DXL1K and STAGEPAS 1K mkII
can both be used, meaning
up to five mono inputs plus
one stereo input are available.
Similarly, two DXL1K can be used
with two STAGEPAS 1K mkII –
or three DXL1K with one
STAGEPAS 1K mkII – to cover a
wider or deeper area with either
stereo or mono audio.
www.yamaha.com/proaudio
and digital AES/EBU inputs/outputs,
Dante audio networking and a
complete set of tools for signal
processing and tuning. It combines
two 40-bit floating-point SHARC
DSP chips at 96kHz and two more
32-bit DSP chips to independently
manage audio processing and signal
routing for maximum sound quality
and redundancy. Onboard DSP
handles input/output delays, IIR/
FIR equalisation, crossover filters
and thermal/RMS/peak limiting. The
XPS 16K also includes RCF speaker
presets with signal processing
options for “fast and accurate
system tuning”. The XPS 16K
integrates four Ethernet ports on the
rear panel with an internal 1Gb/s
switch so that users can daisy-chain
multiple amplifiers or integrate the
system into any existing Ethernet
infrastructure. Several XPS 16K
devices can be connected to other
RDNet-compatible devices, or to
one or more computers running
RDNet software without requiring
an external RCF CONTROL Series
device. The XPS 16KD is equipped
with a Dante board that makes eight
additional digital inputs available.
www.rcf.it
27/09/2022 12:13
 PRODUCTS
K-array nominates osKars
in latest innovations
OFFERING DEEPER sound, higher
SPLs and enhanced tonal definition,
K-array has developed the Thunder-KS
series of subwoofers. Fully managed
by integrated DSP processors, the
Thunder Series of active subwoofers
includes powerful Class-D amplifiers.
Thunder-KS1
Thunder’s electronics deliver the
power signal to the subwoofer itself
and up to three additional channels
of amplification and processing, so
that an entire stereo system can be
controlled using one active unit. The
Thunder-KS series of subwoofers
benefits from next-generation
Kommander-KA14
intelligence (osKar) together with IEB
sound processors that manage an
entire ecosystem through various
control platforms. Incorporating a
USB player and web stream receiver,
the osKar operating system can
also control the main DSP functions,
including volume, routing and presets,
directly from the device.
The remote control of the Thunder-KS
subwoofers can be managed via three
software platforms ranging from the
K-framework for Windows and Mac,
passing from a more intuitive web app
and arriving at the more simplified
mobile app (Wi-Fi). In addition, there
are also APIs and plugins to control
the devices via third-party controllers
together with LEDs located on the
front of each unit.
Housed in Finnish birch plywood and
finished in black or white polyurea
paint, the front mesh is treated with
a powder coating to provide salt and
weather resistance. Side handles
48 WORSHIP AVL November–December 2022
WAVL Pg44-57 Products.indd 48
are completely integrated into the
chassis, while flexibility is enhanced
with the inclusion of an M20 threaded
flange on the top for combining with
stands and pins of the Pinnacle and
Axle systems. Hardware accessories
allow them to be suspended with the
Mugello line array and in clusters
composed exclusively
of subwoofers. The
dedicated amplifier for
the Thunder-KS line
features a powerCON
True connector housed
in a self-shelter recess
within the sub chassis.
With Kommander,
K-array has embarked
on a new chapter for
the manufacturer’s
amplifier catalogue and a new era for
cloud-based technologies. Comprising
Class-D amp modules managed
by integrated DSP processors, the
lightweight amplifier is housed in a 2U
stainless-steel chassis. Equipped with
optical limiters and protections on
the signal – overcurrent, short circuit
and temperature – each amplifier is
loaded with configurations necessary
to drive any K-array passive product.
Equipped with 4–8 independent
output/input channels, the
Kommander amplifiers are fully
configurable owing to the integrated
DSP offering control over the EQ and
level of each channel, routing matrix
and delay. Tuning is managed courtesy
of the Integrated Electronic Brain (IEB)
implemented into K-array amplifiers.
The built-in microelectronics driven by
the osKar integrated operating system
features expansive sound processing
offering complete user control over the
system performance. A mobile app
and dedicated professional interface,
volume, signal routing, presets and a
complete USB player can be remotely
monitored and controlled.
The Kommander, Thunder and
Mugello amplifiers are the first
products on the market to incorporate
Audinate’s Dante Ready licensing
programme.
www.k-array.com
Renkus-Heinz redefines C
column loudspeaker category c
OFFERING OPTIMAL intelligibility for added security and enhanced D
and minimum aesthetic impact in weatherisation. Low insertion loss an
the architectural audio space, the transformers have been added Au
US-based loudspeaker manufacturer with an accessible tap switch for C6
has expanded its column array 70V/100V constant is
loudspeaker portfolio with the addition voltage operation in wi
of the PCX Series. Building upon its larger, distributed audio Tra
flagship Iconyx self-powered steerable systems. Specification is LM
loudspeakers, the PCX Series aided by compatibility with Ca
provides an additional solution as a EASE Focus 3 software, of
unique passive loudspeaker. allowing system design ha
Passive UniBeam technology and verification with en
addresses each transducer with predictable results within a de
a specially designed passive filter standard software wizard. wi
network to generate an asymmetrical
vertical dispersion pattern, shaping www.renkus-heinz.com
the coverage downwards and
delivering consistent front-to-back
coverage with minimal side lobe
artefacts. A discreet appearance
ensuring the lowest possible
architectural intrusion has been aided
by incorporating neodymium 3-inch
full-range drivers. The combination
of an included wall-mount bracket
(optional pan and tilt) and Passive
Unibeam enable flush-mounting in
most applications.
The PCX4, PCX8 and PCX16 models
are weather resistant (IP64) as
standard, salt spray and UV resistant,
in addition to being subject to high/
low operational temperature and
humidity testing. Each model includes
a gland/conduit knock-out input cover
CODA Audio expands
HOPS Series
DEVELOPED FOR high-power
applications with reflective surfaces
or space constraints, CODA Audio
has announced the expansion of its
HOPS (high output point source) range
with the launch of the HOPS12T. The
three-way point source HOPS12T
incorporates 12-inch neodymium cone
drivers with 4-inch voice coils adapted
from the AiRAY line array. Dynamic
Airflow Cooling (DAC) technology and
phase linearity are included, while both
the 90° x 60° and 60° x 40° variants
are rotatable.
The HOPS12T enclosure of a flying frame. A quick release
incorporates exchangeable Instafit grille ensures no further tools
Magnetic Waveguides that allow are required. Weatherproofed as
adjustments to directivity, ensuring standard, the HOPS12T can be used
broadband energy can be focused as a standalone full-range system
where required and away from when paired with the U4 subwoofer,
reflective surfaces. Vertical and and both cabinets can be mounted
horizontal U-Brackets are available, vertically or horizontally.
in addition to an integrated mobile
suspension for quick attachment www.codaaudio.com
27/09/2022 12:13
 Carys enhances audio
y clarity for Audiofocus
DESIGNED FOR medium-throw live
and fixed installation applications,
Audiofocus has developed the Carys
C6 loudspeaker. The passive column
is the first in its class to be equipped
with a 6.5-inch AMT (Air Motion
Transformer) HF driver, dual 6-inch
LMH and triple 6-inch LF transducers.
Capable of producing a maximum SPL
of 135.5dB, the Belgian manufacturer
has incorporated a specially
engineered horn and waveguide that
delivers broad horizontal coverage
with a H/V of 120° (+5°/–20°).
Incorporating a 15-inch neodymium
LF transducer with Tetracoil
technology, the accompanying
Carys C15LS is a combined LF/sub.
Capable of producing 137dB SPL,
the cardioid designs of the Carys
C15LS and C6 mean they can be
placed close to walls or in corners.
Tuned full-range cardioid vents also
allow increased gain before feedback
when used to reinforce headset and
lavalier mics. devoid of additional amplifiers C15LS for a quick full-range PA setup.
By utilising the plug-and-play or cabling, the Carys C6 can be
amplification and audio connection mounted on top of an accompanying www.audiofocus.eu

Audac creates lasting sound
VIRO5 IS Audac’s latest two-way
coaxial loudspeaker which comes
in both 8Ω and 16Ω variants and
with optional toroidal transformer
modules. Available in black and
white, the VIRO5 combines a soft,
silk-domed tweeter for smooth
tonality with a 5-inch two-way coaxial
speaker driver.
Using the optional 70V/100V
line transformer enables the VIRO
series to be used not only in
low-impedance installations but
also in 70V or 100V systems.
By removing the back plate, the
transformer can be easily inserted.
The full aluminium construction
and stainless fasteners make
sure the speaker stands up in the
toughest environments. In order
to further comply with the IP55
certification, Audac has made sure
the front grille is water repellent and
that the speaker comes equipped
with rubber cable grommets
for fixed installation along with
optional speakON connectors. The
multifunctional mounting bracket
means that the VIRO5 can be
mounted on any wall or ceiling. In
addition, there are several optional
mounting adapters for poles,
stands and ground pins.
VIRO5 www.audac.eu

November–December 2022 WORSHIP AVL 49

WAVL Pg44-57 Products.indd 49 28/09/2022 15:17

 PRODUCTS
Taiden takes a new direction
TAIDEN HAS introduced the
HCL-804A controllable column
loudspeaker together with 404 Series
and 210B Series loudspeaker/
subwoofer combination loudspeakers.
The HCL-804A is a two-way
controllable directivity column
loudspeaker that features eight
4-inch midrange units and 24 ¾-inch
tweeters. A built-in multichannel
DSP engine and high-performance
Class-D digital amplifier can control
each individual array element
with precision in a programmable
manner. It can be divided into two
independent beams for control and
adjustment, providing simultaneous
input of analogue and AES/EBU
digital audio signals to achieve a
hot backup. Loudspeaker setting
and monitoring are all carried over
standard Ethernet. The speaker can
Alcons rises to new heights with the CRS12/9090
ALCONS AUDIO has introduced
the CRS12/9090 to its portfolio,
a two-way, passive-filtered, full-
range loudspeaker designed to
meet the requirements of current
and future immersive, surround-
sound formats. Featuring the
manufacturer’s patented pro-ribbon
driver technology, the CRS12
combines clarity and intelligibility
with what is described as an
“unusually” high dynamic range.
The CRS12/9090 system
comprises the RBN401 pro-ribbon
driver for the high frequencies
and a vented 12-inch mid-bass for
LF reproduction. The HF section
has an 800W peak power input,
APG debuts DA amplifier range
DEVELOPED IN partnership
with Powersoft, the DA amplifier
series has been released by French
loudspeaker manufacturer APG
together with the SPOT2.6, a passive
full-range compact loudspeaker.
The SPOT2.6 comes equipped
with a pair of 6.5-inch transducers
and a HF compression driver loaded
with a 70° x 50° constant directivity
horn. The speaker is said to offer
perfect directivity control over a wide
frequency range thanks to two low-
mid d’Appolito mounting transducers
coupled with a rotating horn for high
frequencies.
The SPOT2.6 is available with
a range of optional accessories,
50 WORSHIP AVL November–December 2022
WAVL Pg44-57 Products.indd 50
HCL-804A
enabling a 1:16 dynamic range
with reportedly up to 90% less
distortion from 1kHz to beyond
20kHz.
Crucial for the imaging in height
channels of immersive systems,
the speaker’s patented 90°
horizontal and patent-pending 90°
vertical dispersion characteristics
offer a wide and consistent
coverage up to the highest
frequencies. By using identical
MHF components as in Alcons’
screen systems, voice matching
between screen and surround
systems can be achieved, resulting
in a wide and uniform sound stage
throughout the entire listening
SPOT2.6
also be paired with a subwoofer
to complement low-end output as
required.
The 404 Series cabinet is a
single-drive, full-range, two-way
column loudspeaker that combines
four 4-inch midrange units with 12
¾-inch tweeters. Three of those
tweeters form a linear tweeter sub-
array in combination with a coaxial
transducer and a midrange unit to
create a smoother off-axis response.
Its fixed 15° vertical coverage and
wider horizontal coverage is said
to optimise sound field uniformity,
meeting sound reinforcement needs
in small- and medium-sized spaces.
When used with the 210B Series
woofer, the system obtains greater
dynamic energy. The HSP-210B
is the new 210B Series 10-inch
powered companion subwoofer and
including a stand base, U-Brackets
for horizontal and vertical installation
and link plates for clusters of up to
three loudspeakers. Available in 4Ω
(SPOT2.6/4) and 16Ω (SPOT2.6/16)
variants, the units come with a five-
year warranty and can be coupled
with an optional 200W external
transformer for 100V line setups.
The DA amplifier series launches
with two models. The DA8 and
DA12 are four-channel amplifiers
with signal processing, as well
as analogue, AES3 and Dante/
AES67 inputs and outputs, and a
bright 4.3-inch IPS touch display.
The four channels reportedly offer
high power and voltage, allowing
K
TH
Kl
is
wi
to
sy
in
0.
The 404 and 210B
includes multiple preset modes to
handle different situations, extending
the limits of the system in the low-
frequency range.
www.taiden.com
area. The 10° slanted baffle,
together with the upside-down
speaker arrangement and the
enclosure design, allow for low-
profile wall or ceiling mounting.
The CRS12 is available in 8Ω and
4Ω versions and, for full system
performance, needs to be driven
by an ALC controller-amplifier. The VI
Signal Integrity Sensing pre-wiring
ensures complete cable/connector
compensation between the CRS12
S
and ALC, which the manufacturer
says increases response accuracy,
regardless of cable length and Av
system impedance.
www.alconsaudio.com
for high SPLs, even when running
8Ω or 16Ω loads. They are capable
of delivering 4x2,000W (DA8)
and 4x3,000W (DA12) at 4Ω. The
amplifiers’ power supply has been
designed to operate anywhere in the
world and an internal energy storage
system allows the amplifiers to keep
performing consistently in the event
of a power drop. The amplifiers can
be controlled via the touchscreen,
with functions including preset
recall, gain, delay and muting. TA
Both units can also be controlled te
remotely using Powersoft’s lin
ArmoníaPlus software. Av
fo
www.apg.audio in
27/09/2022 12:20

K&F updates its VIDA L
THE VIDA L is the heart of
Kling & Freitag’s VIDA system and
is a 48-channel signal processor
with a multichannel amplifier. Due
to the high resolution within the
system, users can control the beam
in real time in steps as small as
0.1°. The J-Beam algorithm is the
ng
VIDA L
Stagetec advances its networking credentials
Avatus S48
e a remote console wherever space is
he
ge
ep
nt
n via browser or control software
TAKING ADVANTAGE of IP
technology and a central controller
linked to the control surface, the
Avatus audio console comes with
four user interfaces. The user
interface can consist of either one
WAVL Pg44-57 Products.indd 51
latest addition to the VIDA platform.
With the manufacturer’s standard
beam, it’s possible to tilt the beam
and control the vertical opening
angle; with J-Beam, users can
now continuously adjust the level
distribution within the beam and
achieve the same volume from the
first to the last row if needed. The
open FPGA platform enables the
manufacturer to constantly work
on new technologies which will be
added to VIDA in the coming years.
Kling & Freitag has also
released its CA 106 PRO. With
its multifunctional housing and a
rotatable horn, it’s been developed
for use in almost every application.
And with the speakON channel
selector, users can connect
several speakers in line and still
feed them with separate signals.
In addition to low distortion and
high gain before feedback, the
CA 106 PRO can be used on its own
in smaller events or as a fill system
in larger installations, or even as a
personal monitor. It’s best paired
with the D-, PLM- and IPX-Series
amplifiers but its crossover design
means it can be used on linear
power amplifiers.
www.kling-freitag.com
large console or several small control
surfaces with separately installed
metering if required.
Remote connections are possible
across the network and accessible
without added hardware. The basis
of the distributed concept is to avoid
any central operating controls with all
operating positions having access to
all functionalities. When linked to a
Nexus network, unlimited resources
can be accessed using audio inputs
and outputs of any format.
d&b introduces the
compact 5D amplifier
FEATURING INTEGRATED
audio networking and flexible
output power sharing, the 5D is
a four-channel Class-D amplifier
with a high-density form factor and
a 1U/9.5-inch footprint. It uses
DSP to incorporate loudspeaker-
specific configurations and
user-definable setups from E-, xS-,
xC- and T-Series, equalisation and
delay functions. The amplifier has
been designed to drive smaller
loudspeakers and can be mounted
under tables or ceilings as well as
in a rack. It’s also suitable for the
setup and deployment of small
Soundscape systems.
Signal processing extends the
level of functionality of the onboard
features. These include a range of
loudspeaker-specific filter functions
plus a user-definable eight-band EQ,
which facilitates system tuning. The
delay capability covers a range of
The flagship Avatus S is available
in sizes from 12 to 96 faders for
all applications with maximum
overview and very fast direct
access. Available
from 12 to 96 faders
with removable displays
for wall or swivel arm mount,
the Avatus D is a flexible option for
auditoriums. Designed as a mobile
extension for larger consoles or as
an important consideration, the
compact Avatus C promotes
comprehensive control in sizes
from 12 to 36 faders. Available
as 24 and 36 fader consoles
and boasting the shortest depth,
Avatus E is suited for encoder-
centred operation and for venues
with limited space.
The Stagetec community is
growing with a network of partners
to make management of audio
and video signals available to all.
With Nexus IP Link, internal audio
connections can be distributed and
controlled over an IP infrastructure
November–December 2022 WORSHIP AVL 51
PRODUCTS
up to 300ms. The DSP unit has a
fixed latency of 1.1ms.
The amplifier has a dynamic range
of 111dB (unweighted) and is
designed to drive a selected range
of d&b loudspeakers while providing
comprehensive management and
protection capabilities. The user
interface of the amplifier consists
of LEDs for power, data and
channel information about signal,
gain reduction, overload and mute
status.
The 5D is the first d&b amplifier
with integrated Dante networking.
This feature allows for flexible
system configuration changes
and convenient deployment of
decentralised system designs.
According to the manufacturer,
the 5D amplifier improves the
affordability of a d&b system.
www.dbaudio.com
NEXUS IP Link
of ST 2110-31-compliant audio IP
streams. Nexus endpoints fitted
with an AES67 card benefit from
fully integrated audio distribution
and existing AoIP features including
redundant networking with
ST 2022-7-compliant seamless
protection switching and wide area
networking connectivity for remote
production.
www.stagetec.com
27/09/2022 12:20
 PRODUCTS
L-Acoustics unveils multichannel LA7.16i amplified controller
CREATED TO improve flexibility
and efficiency, especially in
multichannel scenarios, L-Acoustics
has launched the LA7.16i offering
16x16 architecture in a 2U
chassis with seamless Milan-AVB
redundancy. Each of the 16 output
channels delivers up to 1,300W at
8Ω or 1,100W at 4Ω. The amplified
controller will drive both current and
future L-Acoustics loudspeakers
for more efficient and sustainable
installations. It offers flexibility
to meet real-time power needs,
energy efficiency and the ability to
address multichannel and hybrid
applications, including the L-ISA
Ambiance room enhancement
software.
With the LA7.16i, L-Acoustics has
also introduced L-SMART, a suite
of advanced power management
technologies that allows designers
to mix and match any L-Acoustics
loudspeaker onto one amplifier.
L-SMART uses proprietary predictive
modelling algorithms to manage
the power supply unit (PSU)
and the individual amplification
channels. Hardware sensors within
Magewell applies expertise into the audio domain
WITH THE introduction of its
Pro Convert AES67 multi-format
IP audio encoder, decoder and
capture device, Magewell has
extended its media processing
and IP workflow technology into
the audio domain. Supporting
standards and protocols including
AES67, NDI and SRT, the device
converts between different IP
media technologies and serves as
a bridge between analogue audio,
software and IP networks.
Capable of sending and receiving
multiple eight-channel unicast or
multicast AES67 streams, Pro
Convert AES67 operates with
third-party AES67 audio solutions
and supports SMPTE 2110-30
for delivery of PCM digital audio-
over-IP networks. The device
also transports uncompressed
audio using the NDI media-over-IP
52 WORSHIP AVL November–December 2022
WAVL Pg44-57 Products.indd 52
the amplifier supply real-time
information, which is analysed
by the DSP to dynamically match
loudspeaker system needs. The
PSU can then provide extremely
high short-term peak power or lower
power over longer hold times. This
energy is delivered intelligently to the
advanced Class-D output stages,
reportedly assuring optimum system
performance at all times. The
LA7.16i can drive any L-Acoustics
speaker up to K2, enabling
high-resolution amplification and
processing of large-format speakers
with less system budget.
The L-ISA Ambiance virtual
acoustic enhancement system uses
hardware – speakers, amplifiers
and processors – that is already
a necessary part of modern
venues. Adding strategically placed
microphones to capture the existing
acoustical energy of a space,
Ambiance processes signals from
the mics through the L-ISA Room
Engine that’s built into the L-ISA
Processor II, where reflections
can then be individually managed
with separate EQ, time and space
technology or compressed AAC
audio using the low-latency SRT
protocol.
Enabling local and remote
production workflows that
combine third-party
products supporting
different
standards
and
formats, the
device can also
encode analogue audio
into AES67, NDI or SRT streams
to IP networks, in addition to
Ambiance can be controlled via
the L-ISA Controller on both Mac
and Windows platforms, through
the built-in configurations on the
Processor or with Q-SYS and
Crestron third-party control systems.
Adding to its range of solutions
designed to meet the demands of
the installation market, L-Acoustics
parameters, empowering a sound has also introduced the Soka and
designer to create a desired sound its companion subwoofer, the SB6i.
atmosphere for the space. L-ISA Inspired by the success and design
principles of the Syva, the Soka
integrates nine 3.5-inch MF drivers
and three 1-inch HF transducers
to impart a wide 140° horizontal
coupled with a highly controlled
26° vertical directivity. The Soka
and SB6i have been designed to be
easily enclosed in-wall or discreetly
mounted on-wall. Despite its
diminutive size, the Soka reportedly
delivers 124dB over a wide
bandwidth that extends down to
70Hz when used with the full-range
preset. Using the SPL preset, the
Soka offers an even higher 130dB
down to 100Hz. With two 6.5-inch
neodymium LF drivers and the
L-Acoustics Laminar vent technology
found in the manufacturer’s concert-
grade reference subwoofers, the 4Ω
SB6i can operate down to 29Hz and
produces as much as 114dB, again
via two presets, matching coupled
or decoupled configuration with the
main system.
Soka www.l-acoustics.com
decoding IP audio streams in Pro Convert AES67 can be used
these formats and protocols for as a plug-and-play audio capture
analogue output. The device. For audio streaming
compact applications, the device also
offers AAC stream encoding
and transmission plus AAC
and MP3 stream receiving and
decoding. A virtual audio matrix is
accessible through the device’s
browser-based user interface
and allows routing or mixing of
any analogue or IP-based input
channel to any analogue, IP or UAC
output. Encoding and processing
hardware parameters can be configured
features through the web interface, with
unbalanced centralised configuration and
stereo 3.5mm control of multiple Pro Convert
input and output units available through the
connections plus 4.4mm Magewell Cloud multi-device
balanced stereo I/O. management software.
When connected via USB
to a laptop or desktop computer, www.magewell.com
27/09/2022 12:21
 PRODUCTS

r RØDE reimagines the RØDECaster Pro

DESCRIBING IT as the world’s
most powerful all-in-one audio
solution for content creators, RØDE
has unveiled the RØDECaster
s. Pro II, a fully integrated audio
production studio for creators of
all kinds that combines superior
sound quality with ease of use and
customisability.
. The RØDECaster Pro II offers
users four studio-grade Neutrik
combo inputs for connecting
microphones and instruments,
with each input featuring
RØDE’s ultra-low-noise, high-
gain Revolution Preamps. The
device also features a full
e suite of studio-quality APHEX
audio processors that have
been completely overhauled
y from the original RØDECaster Pro
and remodelled using component-
level analysis of analogue units.
RØDE claims that the unit’s
high-performance quad-core audio
engine delivers “significantly more
processing power than any other
content creation console on the
y market”, while onboard effects
t- allow users to craft their own
Ω
d
n
unique sound. The high-definition,
full-colour touchscreen combines
with tactile rotary encoders for
controlling the console. Even
for those with no prior audio
experience, professionally tailored
presets and the VoxLab processing
editor allow anyone to capture great
sound.
With nine individually assignable
channels, six broadcast-quality
physical faders and three virtual
faders, the RØDECaster Pro II can
adapt to any creative recording
application, from livestreaming and
gaming, to podcasting to music
production. Any of the nine audio
sources can be allocated to any
fader, allowing users to design
their ideal mixer configuration to
suit their creative requirements and
workflow.
Eight SMART pads can be
customised to do everything from
triggering on-the-fly voice effects – like
reverb, echo, robot and pitch FX – and
sending MIDI commands to external
software and hardware, to activating
automated mixer actions like fade-ins
and fade-outs. The bank switching
buttons provide access to eight banks
for a total of 64 unique actions at
the touch of a button. The onboard
effects and APHEX processors are
also fully customisable. All processing
and effect parameters can be saved
as presets and loaded at any time on
any channel.
In terms of output connectivity,
the console has four high-power
headphone outputs and ¼-inch
balanced line outputs for connecting
speakers for monitoring and
playback. Dual USB-C interfaces
accommodate the connection of
two computers or mobile devices
simultaneously, with an extra virtual
USB channel for connecting chat
applications. The RØDECaster
Pro II also offers Advanced
Bluetooth connectivity with wide-
band speech for high-quality audio
transfer between mobile devices,
in addition to Wi-Fi and Ethernet
connections, allowing users to update
firmware wirelessly and integrate with
hardware and software. Users can
record in stereo or multitrack either
to an onboard microSD, computer or
external storage device.
www.rode.com

l i g h t i n g &
a u d i o
t r u s s i n g
l e d
s c r e e n s
a r c h i t e c t u r a l
l i g h t i n g
It's all about the people

h o u s e s o f t r a i n i n g &
t h e a t r e s t u d i o s
w o r s h i p s u p p o r t

DWR Distribution is your one-stop technical supplier in Africa.

DWR, Block C, Unit 1, Kimbult Industrial Park, 9 Zeiss Road, Laserpark, Honeydew, South Africa.
Tel: +27 11 794 5023 | sales@dwrdistribution.co.za |www/dwrdistribution.co.za

November–December 2022 WORSHIP AVL 53

WAVL Pg44-57 Products.indd 53 28/09/2022 15:14

 PRODUCTS
Ikegami strikes a balance
with the UHK-X750
OPTIMISED FOR
fixed-mount operation
on a pedestal or tripod,
Ikegami Electronics has
extended its range of broadcast
production cameras with the
UHK-X750. Integrated into a robust
metal housing, the full studio and
OB camera includes high frame-rate
capture for slow motion applications,
global shutter sensors and versatile
connectivity.
Distinguishing elements of the
UHK-X750 include a lower centre
of gravity and easier staging
compared to a portable camera
and an optimum weight balance
for operation in combination with
a large lens. Weighing 19kg and
measuring 315mm x 329mm x
398mm (WxHxD), the camera’s
low body height brings the
accompanying VFL-701D viewfinder
closer to the optical axis of the
camera.
Incorporated into the optical front
end of the UHK-X750, three 2⁄3 -inch
Blackmagic announces new family of live production switchers
BLACKMAGIC DESIGN has
introduced a new family of ATEM
Constellation HD live production
switchers. The new models are a
1 M/E model with 10 3G‑SDI inputs,
a 2 M/E model with 20 3G‑SDI
inputs and a 4 M/E model with 40
3G‑SDI inputs. All models include
full standards conversion on every
SDI input, four ATEM advanced
chroma keyers per M/E row, a
DVE per M/E row, media players
and a larger media pool. They are
designed for ATEM Mini customers
who need to upgrade or expand their
existing setup.
The ATEM Constellation HD
switchers feature a compact
rackmount design with a built-
in control panel allowing for
54 WORSHIP AVL November–December 2022
WAVL Pg44-57 Products.indd 54
CMOS UHD
sensors come with
a global shutter to
minimise artefacts
when shooting LED screens or
scenes illuminated with flash or
strobe lighting. Full HDR/SDR
support is included, plus the ability
to choose between BT.2020 and
BT.709 colour spaces. High-frame
rate shooting at up to 2x speed in
UHD or up to 8x in HD via the base
station is an option. Five neutral
density filters and four chroma filters
(3200, 4300, 6300 and cross)
are included. When combined with
the Ikegami BSX-100 base station
or CCU-X100 CCU, the UHK-X750
supports simultaneous output
in UHD and HD video formats.
An IP interface of video, audio
and intercom inputs and outputs
conforming to SMPTE 2110 and
NMOS standards is available as an
option at the base station or CCU.
www.ikegami.de
operation of the switcher during
setup or for emergency use. Also
included is a large LCD so users
can see programme output and
change switcher settings via
onscreen menus. The compact
design is ideal for portable live
production, with the rear of the
switcher including the connections
for 3G-SDI inputs, 3G-SDI aux
outputs, balanced audio and
Ethernet for control. The top 4 M/E
model includes RS-422 for serial
Lumens launches new 20x PTZs
TWO 20X HD PTZ cameras have
joined the fold at Lumens Digital
Optics, one capable of delivering
secure IP streaming (VC-A51P) and
the other with NDI|HX for networked
production (VC-A51PN). Both
models feature a high-sensitivity
1/2.8-inch 2.16MP Sony CMOS
sensor with WDR (wide dynamic
range) and 3D noise reduction.
With advanced auto-focus and
auto-white balance
algorithms, the cameras
are said to produce sharp
and well-exposed video, even
in low light environments. They
also integrate a new motorised
mechanism for fluid three-axis
motion and movement at up to
300° per second.
For integration into traditional AV
and video workflows, both models
incorporate 3G-SDI and HDMI
VC-A51P
control and MADI digital audio
connections.
The built-in multiview lets users
monitor multiple sources on a
single monitor, while a wide range of
broadcast-quality native transitions
are included, such as mix, dip and
wipe. Built-in talkback supports a
five-pin XLR headset connector, plus
a rear-mounted RJ12 connector for
interfacing with industry-standard
talkback systems, such as Clear-Com
or RTS. With a built-in Fairlight
C
ports, as well as multiple IP control
BU
in
and streaming protocols, including su
RTMPS and RTMP, in order to work 4K
seamlessly with popular streaming an
services, such as YouTube, Twitch Co
and Facebook. Incorporating SRT, an
the cameras offer broadcasters fa
secure remote production over the th
internet at low latency. pr
The cameras support RTSP an
output for compatibility with IP- int
based production and streaming sc
platforms. The VC-A51PN adds the ne
high-efficiency NDI|HX protocol for co
low-latency video networking using AV
NewTek’s popular open standard, I
enabling live video distribution and Co
production over 1GBit and 10GBit sig
IP networks. The VC-A51P and to
VC-A51PN replace Lumens’ ne
VC-A50 models. fir
fe
www.mylumens.com
P
audio mixer, the ATEM Constellation
makes complex live sound mixing
possible. The internal mixer has up
to 156 input channels, with audio
de-embedded from all the SDI video
inputs and passed to the audio mixer.
The device also features advanced
keyers for high-quality chroma or
luminance keying. The SDI inputs
will also handle embedded audio
and mix audio from all video
inputs. In addition, the programme
outputs include talkback, tally and
camera control information, which PR
means users can connect any of Ec
the switcher SDI outputs back to m
the camera for programme return, co
camera control and talkback. la
siz
www.blackmagicdesign.com fix
pr
27/09/2022 12:23

ConvertIP simplifies AV-over-IP
BUILT TO facilitate open,
interoperable infrastructures that
support compressed and uncompressed
4K IP signal transport over ST 2110
and IPMX-ready networks, the
ConvertIP series of transmitters
and receivers from Matrox is a new
family of standards-based IP devices
that enable broadcast and pro AV
professionals to transform standard
and existing infrastructures into
interoperable, cost-efficient and
scalable 1GbE, 2.5GbE or 10/25GbE
networks to support a wide range of
compressed and uncompressed 4K
AV-over-IP applications and workflows.
In tandem with the launch of
ConvertIP is the company’s ConductIP
signal routing software. Designed
to simplify content distribution in AV
networks of any size, the industry’s
first IPMX-ready signal routing platform
features a customisable, 360° view
Maverick Storm warning from Chauvet
ADDING TO its catalogue of
all-weather fixtures, Chauvet
Professional has developed a
range of IP65-rated moving heads
in the form of Maverick Storm 2
BeamWash, Maverick Storm 4
Profile and Maverick Storm 2 Profile.
The Maverick Storm 2 BeamWash
is characterised by its bright
output of almost 10,000 lumens.
The 18kg fixture features 19 50W
RGBW LEDs in its centre pixel array
Prolights releases its smallest EclPanel
PROLIGHTS HAS unveiled its
EclNanoPanel TWC, the smallest
member of its EclPanel range,
containing all the features of the
larger-format soft lights in a compact-
sized, battery-operated luminaire. The
fixture has a 30W RGB+WW source,
producing a 1,800-lumen output.
WAVL Pg44-57 Products.indd 55
of all devices and media flows to
discover, monitor and route any
NMOS-enabled ST 2110 and IPMX-
ready audio, video and ancillary signal
on the network.
The ConvertIP transmitters and
receivers are built on ST 2110,
the NMOS suite of open APIs and
IPMX-ready industry-standard-based
technologies. Combined with pro
AV, JPEG XS and uncompressed
codec support, the manufacturer
and an outer ring of 0.2W RGB
LEDs. The wide zoom range from
3.6–53.4° can create a multitude
of designs from tight aerial beams
to wide washes.
The versatility of the BeamWash is
enhanced with a pixel-mappable
12-zone RGB LED outer ring that
offers individual pixel control.
Positioned under a stealth
filter, the outer ring is easier to
incorporate into a wide range of
Its colour technology is the same as
the other ECL soft lights, producing
rich colours, high-quality white tones,
colour gel matching and onboard pixel
cinema effects. The EclNanoPanel
TWC is also Spektra calibrated,
matching in colour and whites as the
other fixtures in the soft light range.
claims they are the most flexible and
interoperable IP devices on the market
today, allowing broadcast and pro AV
professionals to use existing 12G-SDI,
HDMI and HDBaseT hardware to
deliver lightly compressed and
uncompressed 4K AV-over-IP transport
with sub-frame to zero latency
performance. ConvertIP supports
both copper and fibre networks,
while their compact form factor and
fan-less design make them suitable
Maverick Storm 2 BeamWash
The EclNanoPanel TWC has three
precision encoders, with multiple
standalone control modes: CCT
with ± green shift, CCT presets,
HSI, saturation and intensity, RAW
RGBW mode, XY and cinema effects
mode. There are also several colour
control modes available: RGBW,
RGB, CMY, HSI, XY, RAW Direct,
CCT Linear and CCT presets with
± green shift, source emulation and
industry-standard colour gels. It’s
also possible to create pixel-mapping
effects through the four-section pixel
control, using a USB-C to DMX/RDM
cable or the integrated Wireless DMX
control (W-DMX and CRMX).
The EclNanoPanel TWC has a
long-lasting battery, with selectable
battery-life options, balancing a
bright output for a shorter time
(approximately two hours at full) to
a run time of more than 18 hours.
November–December 2022 WORSHIP AVL 55
PRODUCTS
for a variety of monitor and rackmount
installations.
The series also includes a web-
based command centre that allows
users to access, control and
operate all ConvertIP devices from any
location. Also included is the ConvertIP
Manager application, which features
a dashboard view for multi-unit setup/
maintenance and routing operations.
www.matrox.com
designs. Built-in foreground and
background LED macros facilitate
the creation of pixel-mapped
effects. Smooth fades result
from its 16-bit dimming, and six
distinct dimming modes and the
fixture’s user-selectable 7,500K
calibrated white together with
the pan and tilt movements add
further creative possibilities.
www.chauvetprofessional.com
The fixture recharges with a USB-C
connector in under three hours.
With the EclPanel TWCXL, Prolights
has created a bright LED soft panel
with a large light aperture for use in
large-scale productions and long-throw
applications. Maintaining colour fidelity,
the 1,500W RGB+WW LED source
outputs over 136,000 lumens. Creating
a light quality with high CRI, TLCI and
TM-30 values, the EclPanel TWCXL
comes with a full range of white tones
ranging from daylight to tungsten.
The panel has a wide CCT range
from 1,800–20,000K, colour modes
including HSI, RGBW, gels, source
emulation and XY coordinates, and is
equipped with W-DMX and CRMX. The
inclusion of 48 sections with individual
control promotes pixel mapping media
content.
www.prolights.it
27/09/2022 12:24
 PRODUCTS
ADJ keeps it focus
THE FOCUS Flex from ADJ Lighting
is a versatile moving head luminaire
capable of creating wash, beam and
pixel effects. Designed to provide
lighting designers with both flexibility
and creative potential, it is suitable
for event production and rental
applications as well as for permanent
installations. The fixture is powered
by an array of seven 40W four-in-one
RGBW colour-mixing LEDs, each of
which can be controlled independently.
Through mixing the intensity of the
primary LED colours, a large variety of
output colours can be created to suit
Focus Flex
any mood or desired look. The fixture
features a convenient Virtual CMY
mode, which allows control alongside
native CMY colour-mixing fixtures
using hardware/software CMY colour
picker/pallete tools. It also offers
Virtual Foreground and Background
Color Wheel control as well as white
light output with variable colour
temperature between 2,700K and
10,000K. This can be accessed either
via linear control or a collection of 10
convenient presets.
The COB Cannon LP200ST is a
wash lighting fixture that can be used
for a wide variety of applications. It
harnesses the power of an efficient
200W COB RGBAL LED light source,
which generates an even output
with no colour shadows. The unit
has a variable colour temperature of
between 2,300K
and 9,900K.
The inclusion
COB Cannon LP200ST
56 WORSHIP AVL November–December 2022
WAVL Pg44-57 Products.indd 56
of the lime LED chip is said to help
certain colours appear more vivid and
also boosts the CRI to in excess of
90. Offering a wide native beam angle
of 80°, the fixture is also supplied with
a lens kit. This comprises both 40°
and 50° lens options, which securely
clip to the front of the fixture to
provide a narrower beam angle.
Designed to create aerial effects
both inside and outdoors, the
Hydro Beam X12 is a moving head
beam fixture with an IP65 rating.
Incorporating the latest Philips
Platinum 12R LL MSD Discharge
Lamp technology, the unit creates a
piercing beam of light with a tight 2°
beam angle. It features 14 colours
plus white, including UV, CTO (3,200K)
and CTB (6,000K), with support
for split colours and bidirectional
scrolling. A static gobo wheel features
16 patterns (plus open) optimised for
aerial effects, including four beam
reducers, and offers gobo shake and
bidirectional gobo scrolling effects.
The fixture also includes motorised
focus, a frost filter to create a wash
Hydro Beam X12
effect and two rotating prisms (six-
facet linear and 24-facet circular).
Finally, the Encore LP32IP is a
multifunctional LED wash lighting
fixture with an IP65-rated casing.
It is part of ADJ’s Lime Par Series
of LED fixtures utilising high output
four-in-one colour-mixing LEDs
that each include individually
controllable red, green, blue and
lime elements. Each LED is rated
at 20W and offers a wide variety
of colour options achieved through
mixing the four primary colours at
varying levels of intensity. These
include white light with a variable
colour temperature between 2,700K
and 7,000K, which can be easily
selected using either linear control
or preset macros.
www.adj.com
Proteus and KL series’
extensions uplift Elation
ELATION PROFESSIONAL has
expanded the Proteus and KL
series of luminaires with the
development of the Proteus
Rayzor Blade and KL Profile FC.
Housed in an IP65 linear
fixture, the Proteus Rayzor
Blade is a combination of linear
wash, high-intensity strobe line and
SparkLED FX. Available with six or
12 independently controlled 60W
RGBW LEDs, the Proteus Rayzor
Blade provides mid-air beams up to
12,500 lumens of wide and even wash
coverage. In addition to wide zoom
and dynamic tilt axis, two strobe lines
of cool white LED
dots along with
KL Profile FC
Vari-Lite announces large-
scale, IP-rated luminaire
DESIGNED TO withstand
inclement weather, yet with weight
and size comparable with similar
non-weatherproof fixtures, the
VL3600 Profile IP comes with a
1,000W monochromatic light engine
producing 85,000 source lumens.
Thanks to a CMY+CTO colour wheel
mixing system, the fixture produces
a wide range of rich colours while
eliminating the appearance of blades
in the lens, improving direct view
applications.
With dedicated CRI boost and
colour correction filters, colours are
said to render beautifully onstage or
on camera.
Proteus Rayzor Blade
Elation’s exclusive SparkLED effects
add depth and visual impact.
Incorporating a 305W RGBMA LED
engine, the KL Profile FC is a full-colour
ellipsoidal framing fixture with a 7–50°
zoom. Designed for a wide array of
applications and capable of outputting
10,000 lumens, the fixture requires no
additional lens tubes. A 16-bit rotating
gobo slot and full blackout framing
system are included with an optional
Fresnel wash conversion kit.
www.elationlighting.com
The IP65-rated fixture has been
created so that designers no longer
need to choose between lighter,
non-weatherised fixtures or heavier
IP-rated ones, reducing the budget
and environmental impact of event
or installation. The VL3600 Profile IP
includes the manufacturer’s VL*FX
animation wheel, as well as gobo
wheels, a dual prism and frost, framing
system, iris, zoom and focus. The
lighter weight and V*Track Calibration
System are said to reduce the tension
in the suspension and address the
“swing after startup” issue.
www.vari-lite.com
H
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wi
27/09/2022 12:24

LiOS2 upgrade promises
better workflows
ARRI’S ORBITER LiOS2 software
update for the Orbiter LED luminaire
aids synergy between cameras
and lighting by incorporating three
new operation modes – Sync
Mode, Cue Mode and Optics Audio
Adjust Mode. The three new modes
establish new possibilities for crews
to work and cooperate both faster
and smarter.
ur
° software ensures the colour rendition
g gives the camera crew time to focus
no
g The first of the three modes, Sync
Mode, allows the lighting parameters
to be enabled or changed in sync
with the camera frames – frame
brightness or CCT range can be
changed to accommodate new
creative ideas. Exact timing is
key for capturing dynamic images
and Cue Mode reportedly enables
precise lighting control on the
spot. Besides variable timing and
working options, the new Cue Mode
even allows for fluid and easy light
ng
n Batten Aqua also offers Advanced
High End Systems launches
SolaPix 19 XT
THE HIGH End Systems
SolaPix 19 XT wash luminaire is
an IP65-rated SolaPix 19 designed
specifically for indoor and outdoor
events. It uses a weatherproof
housing and sealed glass front
lens to deter the ingress of dust,
water and other liquids. With a
wide variety of looks to help set
WAVL Pg44-57 Products.indd 57
changes in different lighting modes.
The transition can be selected from
five different options, already known
from SkyPanel.
The Optics Auto Adjust Mode offers
colour stability with any optic and
any focus. Utilising the accessory
recognition of Orbiter’s QLM (Quick 2
Lighting Mount), the ARRI Spectra
light engine is modified to maintain
the maximum colour stability no
matter which configuration is
used, including textiles such as
Softboxes or Domes, a reflector in
Open Face or lenses such as the
new Orbiter Fresnel Lens. Also,
with the Fresnel Lens, the LiOS2
across its entire zoom range. This
on other important settings.
Network and remote control are
becoming essential on more and
more productions and the new DMX
Mode Spec V5 allows for more
convenient network operation and
additional features within the LiOS2
update. For example, the zoom
range of the Orbiter Fresnel Lens can
be operated, allowing for Extended
Colour Control (ECC). All elements
are also addressable via RDM.
www.arri.com
the mood, SolaPix features an
additive LED, RGBW colour-mixing
system for powerful saturated
colours and tunable white control,
a versatile 4.5–60° zoom range,
FleX Effects Engine and Pixel
mapping on all models.
www.etcconnect.com
Volero Batten Aqua
Claypaky launches Volero line
THE FIRST product in Claypaky’s
Volero line of LED bars is the Volero
Batten Aqua. Designed to stand
out from other moving battens, the
light source is made up of 10 60W
Osram RGBW LEDs, which Claypaky
reports makes the Volero Batten Aqua
capable of emitting a much higher light
power than most of the LED bars on
the market. Each LED adopts 80mm x
80mm lenses, which is described as
an unusual width that allows users
more versatility with focusing the
power of the LEDs and optimising their
luminous efficiency and resolution.
Tambora Flash
The unit allows separate control
of the zoom in two groups from
five adjacent lenses to create a
dynamic movement of the light
beam. In addition, the Volero
Layers Management, with which the
operator can choose to use different
levels of effects simultaneously.
With its IP66 protection rating,
optional Wireless DMX control
and a large amount of effects and
built-in macros, the Volero Batten
Aqua is suited for both touring and
installation markets and works
equally well for both indoor and
outdoor applications.
Claypaky’s Tambora Flash is a
three-in-one LED bar that is said
to be the only hybrid fixture on the
market that can simultaneously act
as a strobe, wash and blinder. The
Tambora Flash was conceived and
developed with the idea of making
November–December 2022 WORSHIP AVL 57
PRODUCTS
several product units combinable
horizontally and vertically, in order to
obtain clusters that are conceptually
like audio line array systems.
The fixture’s strobe section is
based on two strips of very powerful
white LEDs and a large beam angle
aperture. The blinder and the wash
functions are obtained thanks to
four large central RGBWW LED
reflectors of 100W each, individually
controllable in each function through
Advanced Layers Management.
The presence of warm white LEDs
allows for the “warm” effect typical
of blinders. However, the blinder
effect can also be obtained by using
coloured LEDs, for a more dramatic
effect than usual. Both strobe
and blinder effects are reportedly
powerful enough that the unit can
be used in concerts and live events
in broad daylight, and even in bright
sunlight.
The Tambora Flash’s core unit is
suitable for smaller venues and is
contained in a modular design that
can be quickly connected together to
create larger units for use in bigger
venues. The unit offers two quick
coupling modes and the adjustment
of each single fixture within the
cluster on a 30° angle, in order to
adapt to every application. The fixture
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27/09/2022 12:24
 THE TECH VIEW

Supporting digital
ministry
Graeme Spencer, founder of HOW video consultancy
firm Media Mentoring, is helping churches deliver a
sustainable strategy in digital ministry
Graeme Spencer,
Media Mentoring founder

GRAEME SPENCER HAS One of the big changes Spencer “Then, once you have clarity on use it in a way that produced the
worked in the church/Christian believes the HOW market will see that, the tech questions become quality of content they wanted.
media industry for over 25 is that many churches will change much easier to answer. I always Spencer helped train their team to
years, mainly in the Christian from a livestreaming approach to a try and move people away from the get the most out of the equipment,
TV broadcast sector. He has more thought-through and nuanced tech and towards the strategy – while at the same time helping
also had his own television and approach. He expects many to start then we can come back and look at the church define its strategy, so
video production and consulting using video content in a way that tech later.” it knew which direction it wanted
company since 2002 and, in better serves the audience they are One example Spencer points out to go in.
late 2020, started a mentoring/ looking to reach. He also believes is a ministry in Germany which Looking ahead to next year,
coaching/training-based business that churches that continue with was creating a large amount of Spencer wants to launch a
to help churches, ministries and livestreaming will also look at video content but wasn’t seeing YouTube channel and possibly a
individuals develop and grow their producing additional content on an much growth or engagement Podcast and debut several online
skills in the visual and digital ongoing basis. The other change from all its efforts. “I helped training programmes. But his big
ministry.
“I believe the opportunity the
church has right now to use digital
ministry to connect with people
has never been greater or more
exciting,” explains Spencer. “I use
my experience to help churches
in the UK and Europe maximise
the opportunities they have. Since
the start of the pandemic, the
growth in how people are using
digital is off the charts, but it has
also revealed a big need for more
strategic planning and training.”
The company’s main focus at
the moment is to help churches
assess if they have the right
strategy in place to grow and
expand what they have started
in the digital ministry space.
Spencer has found many people
had to start something during the Speaking at a GOD TV conference
pandemic but are either struggling
to maintain it or have found that he hopes to see is an increase in them redefine their strategy and project is to start a brand-new
what they started isn’t bringing the quality of the output people are build an infrastructure that would digital ministry academy which
the results they were looking for. producing. This, he feels, will be help sustain a long-term vision,” aims to provide ongoing training,
“I’ve always believed that one of the things that will define explains Spencer. “They stopped support and encouragement for
digital ministry should be critical successful digital ministry over creating as much content and churches and ministries who want
for every church but, since the digital ministry that doesn’t fulfil a started creating more focused to see more success in what they
pandemic, things have changed. church’s vision or mission. content for their audience and are doing with digital ministry.
There is no longer a need to Spencer is surprised people often then saw their engagement grow He says: “Giving practical help,
persuade people to consider this – still start with a question regarding in a way they hadn’t experienced training and support to people
everyone now sees how important technology, such as “what camera before.” is crucial if we want to take full
this is,” adds Spencer. “But for should I buy?” He believes that Another example is a church advantage of what the new digital
most, the challenge now is how that’s the wrong starting point. “The in the UK which had spent world opens up for us as the
to build a long-term sustainable first and most important thing to considerable money on equipment church.”
strategy that is right for their work out is your strategy and how only to realise it didn’t have the
individual circumstance.” you will sustain it,” he explains. skills or expertise in-house to www.mediamentoring.net

58 WORSHIP AVL November–December 2022

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