Tag Archives: HOW Sound

Austin Stone Church Updates with d&b

Austin Stone Church updated its newest campus with a d&b audiotechnik Y series line array system
Austin Stone Church updated its newest campus with a d&b audiotechnik Y series line array system

Austin, TX (April 30, 2021)—The Austin Stone Church (ASC) serves a community of nearly 8,000 weekly attendees throughout its six locations, and it’s most recent campus was added last year during the pandemic. Getting it up to speed meant that the ASC team and Brown Note Productions (BNP) did a number of AV updates over the course of 2020, including the installation of a d&b audiotechnik Y series line array system; in fact, all of the church’s locations sport d&b systems.

The extensive updating of the new 832-seat contemporary worship campus is necessary, as the church is aiming for it to become its primary broadcast campus along with offering regular Sunday services that feature seven musicians/vocalists (drums, keys, guitar, bass, and playback, as well as three lead vocalists). There are two services per week at the new campus.

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“The main challenge with this install was the raked, fan shape of the space and trying to deliver a similar experience to every seat,” states Ryan Robertson, production audio manager, Austin Stone Church. “The previous system was an old clustered point source system that really did a poor job of that; you could move what felt like five feet in any direction and have a very different experience. One of our main objectives with any of our new venues is to give each person that attends the same experience, whether in the front row or way back in the corner. No other manufacturer does as good of a job of that than d&b in my opinion. Every system really does follow the ‘more art, less noise’ motto by putting sound only where it needs to go, especially when ArrayProcessing is deployed. I always feel confident when mixing on a well deployed d&b system that what I’m mixing at front of house is being heard and felt in essentially every seat in the venue. This install is no exception.  On top of that, there is a clarity and sonic signature of d&b that fits perfectly with the style of music we are mixing and is highly preferred.”

System highlights include eight Y8 and eight Y12 loudspeakers, a trio of J-SUBs ground subwoofers, a pair of d&b J-INFRAs on the outside of the sub array, eight E6 loudspeakers for front fills, a Y10P loudspeaker, two Y7P loudspeakers for out fills, eight 30D amplifiers, a 10D amplifier and a DS10 Dante bridge.

The front of house is outfitted with a DiGiCo S31console with Dante I/O and Focusrite AES interface, and a Q-SYS Control system utilizing a d&b plug-in for complete AV system control and automation allowing for “self-serve” AV modes for a wide variety of uses. An Avid Pro Tools Dante-enabled broadcast package is provided for livestream and post-production use.

“The new d&b system sounds fantastic,” adds Robertson. “The power and clarity of the system really draws you in as a listener. It was fun to see the reactions and smiles on the face of our leadership team as they listened to it for the first time. Their main reaction was how intelligible everything was. They felt like they could actually hear distinctly everything that was happening in the mix, not just a wall of sound. The band has said they have a new level of confidence in what they play and sing and that it is accurately being conveyed into the room. It makes them that much more excited to get up early on a Sunday and lead our people.”

Brown Note Productions • www.brownnote.com

d&b audiotechnik • www.dbaudio.com

Original Resource is ProSoundNetwork.com

Philippines’ Favor Church Streams Live Services

Favor Church’s FOH/Broadcast Engineer Dan Blaza
Favor Church’s FOH/broadcast engineer Dan Blaza

Manila, Philippines (April 26, 2021) — Favor Church in Manila, Philippines has been using a Waves eMotion LV1 Live Mixer to mix the church’s live services, at front of house and monitors, as well as for streaming its live online broadcasts.

“We pivoted quite quickly when COVID-19 hit,” recalled senior pastor James Aiton. “We had to take our church online, and we are also planning to try and get into a larger venue once the pandemic is over…. We needed a cost-effective system that we could copy and transport to future new campuses, both in the Philippines and other locations around the world. Choosing eMotion LV1 has been a great asset in helping our church, both in our physical service and our online service.”

Innovations: Waves Nx Ocean Way Nashville Plug-In

Since the specific installation at Favor Church includes three LV1 consoles in a shared network setup, Waves’ application specialists helped the church’s technical staff plan the system’s design. FOH/Broadcast Engineer Dan Blaza explained, “We’re using three sets of 64-channel eMotion LV1’s for FOH, broadcast, and monitor mix. Two DSPRO StageGrid 4000 I/Os situated at the monitor position beside the stage, are shared via IO Sharing on the SoundGrid network connected with Cat 6 80-meter LAN cables to our FOH and broadcast mix LV1 systems, with 40 inputs and 24 outputs. We’re also using a Waves SoundGrid Extreme Server-C for redundancy, with a DSPRO StageGrid 1000 for added I/O and headphone monitoring, as well as for our separate broadcast mix. The DSPRO StageGrid 1000 is also being used for additional inputs and outputs for nearfield speaker monitoring and final mix output for our broadcast.”

Blaza added, “We may be moving between venues in the near future, so the LV1’s small footprint and portability gives us a future-proof setup. Another benefit is that our musicians can easily mix their own IEM wirelessly through Waves’ MyMon Personal Mixing App, which gives them independent on-stage direct control of their monitor mix.”

Waves • http://www.waves.com

Original Resource is ProSoundNetwork.com

Kim Walker-Smith Returns to the Road

FOH Engineer Daniel Ellis at the DiGiCo SD12 96 desk on Kim Walker-Smith’s tour.
FOH Engineer Daniel Ellis at the DiGiCo SD12 96 desk on Kim Walker-Smith’s tour.

Wichita Falls, TX (March 24, 2021)—CCM artist Kim Walker-Smith has been hitting the road to promote her latest live release, Wild Heart, with a series of “Worship Nights” mini-tours of large churches and Christian universities, all of which have been sold out to half-capacity per COVID protocols. Providing audio for the productions has been Wichita Falls-based Front Porch Productions.

For the tours, Front Porch Productions has been supplying a pair of DiGiCo SD12 96 FOH and monitor consoles sharing an SD-Rack equipped with 32-bit “Ultimate Stadius” mic pres on an Optocore fiber-optic loop, according to Front Porch co-owner Aaron Talley, who has also been serving as the monitor engineer for each of the four-show runs.

The front-of-house mix has been tackled by Daniel Ellis, who notes he’s been using DiGiCo fairly exclusively for a while now: “The SD12 is perfect for what we do with the number of inputs and busses it has, and its compact size helps us easily fit our touring package into one bus trailer. I’ve had a Waves server at front of house for Kim’s latest tours, but I’ve kept most of the processing on the console, which has sounded great. And Aaron and I have both been using DiGiGrid MGB MADI interfaces to get signals into REAPER for recording her shows.”

Baseball-Themed ‘Rigoletto’ Covers Bases, Audience

“Macros on the SD12 are also amazing,” he adds. “I don’t have any special ones that haven’t already been talked about a hundred times, but they’ve been raved about because they are so helpful to have in your workflow. One of my favorites is the one that bypasses all Waves plugins. I’ll do that every now and then during soundcheck just to make sure I’m not going down a plugin rabbit-hole and making the mix worse!” he laughs. “Also, I really love using MIDI to trigger things. It’s such a simple pleasure to fire a snapshot that can play a specific song on my laptop and turn up a fader without touching it.”

At the other end of the fiber loop, Talley, who is manning the monitor SD12 96 console, reports that the tours’ relatively sparse input count of only 36 channels is complemented by an equally modest count of six stereo IEM mixes on stage: two for vocalists, plus keys, electric guitar, bass, and drums. “This has been the lowest number of mixes that I think we’ve ever had, and the console can obviously handle much more thrown at it, but I’ve been really happy with how it’s performed. I’ve only used the desk’s onboard processing on my end—EQ, compression, and reverb—and the sound quality has been top-tier. Daniel and I have also really enjoyed the Con Send and Receive function on our consoles; we use it all the time and it’s an absolute necessity for us.”

Kim Walker-Smith mini-tours • www.transparentproductions.com

Front Porch Productions • www.frontporchpro.com

DiGiCo • www.DiGiCo.biz

Original Resource is ProSoundNetwork.com

Renkus-Heinz Debuts CA/CX121M Stage Monitor

Renkus-Heinz CA/CX121M Stage Monitor
Renkus-Heinz CA/CX121M Stage Monitor

Foothill Ranch, CA (March 19, 2021)—Renkus-Heinz has unveiled its new C Series CA/CX121M compact stage monitor.

Available in both passive (CX121M) and powered (CA121M) models, the single 12” stage monitor/multipurpose loudspeaker reportedly features identical horizontal and vertical off axis performance, aiming to provide greater freedom of movement for artists without changes in frequency response.

The CA/CX121M can also be used as a pole-mounted side fill – using the optional pole adapter – or sound reinforcement system without the need to rotate or reconfigure the drive unit. Also, the UBRKT/CT121M mounting yoke is available to facilitate permanent installation configurations.

The CA/CX121M utilizes a 12” (300 mm) coaxial transducer mounted in a compact, black or white durable plywood cabinet. The low-profile design includes discreet recessed handles – along with the optional pole adapter. The unit’s robust perforated steel grill is designed to withstand the rigors of the road and provide driver protection.

60 Seconds with Dudley McLaughlin of Renkus-Heinz

The optional SA625 power amplifier matches the power needs of the CA121M, providing optimized processing for performance and protection. The integral amp eliminates the need for additional rack space and speaker cable runs. Controlled via RHAON II, the SA625’s built-in DSP has eight parametric EQ filters, high and low shelf and high and low pass filters, and up to 358 ms. of delay. All options are accessed via a Windows computer running RHAON II. In addition, a single CA121M can power one additional CX121M with Bi-Amplified, processed output via an NL4 output. The CA121M-RD adds Dante digital signal distribution capability, including AES67 compatibility and network redundancy.

Renkus-Heinz • www.renkus-heinz.com

Original Resource is ProSoundNetwork.com

Hope Church Outfits New Sanctuary’s Sound System

Las Vegas’ Hope Church opened a new sanctuary in December, complete with an Alcons Audio system.
Las Vegas’ Hope Church opened a new sanctuary in December, complete with an Alcons Audio system.

Las Vegas, NV (March 8, 2021)—The pandemic has been a dark time for many around the world, but for 4,000 worshipers in Las Vegas, Hope Church has been a bright spot in their lives during this time—so much so that in December, 2020, the church opened a new, 1,750-seat worship center and sanctuary, complete with an Alcons Audio pro-ribbon system designed and installed by Stark Raving Solutions (SRS).

Kansas-based SRS introduced the leadership of Hope Church to Alcons solutions at a demonstration event in Las Vegas a few years ago. When SRS suggested a system based on the double 8” LR18 compact mid-size line-array module and double 6.5” LR14/90 ultra-compact line-array module for the new worship center, the church readily agreed.

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“The seating area is a large horseshoe/fan shape, nearly 230º wide, with heavily-raked seats. None is more than 90 feet from the central speaking position on stage,” says SRS’s church resource director Marcus Hammond. The system comprises a center cluster of eight and two side clusters of six LR18, plus two six-unit arrays of LR14/90 for side fills, powered and controlled by four 10kW Sentinel10 and one 3kW Sentinel3 amplified loudspeaker controllers.

“It’s really all about the pro-ribbon HF driver and its incredible clarity. These systems are so dynamic and low distortion at even the highest outputs. It really makes a big difference in the experience, which is what our clients want. The pro-ribbon drivers [were] a perfect match for the space.” says Marcus. “The church leadership is overwhelmingly happy.”

Hope Church Las Vegas • www.hopechurchlv.com

Stark Raving Solutions • www.starkravingsolutions.com

Alcons Audio • www.alconsaudio.com

Original Resource is ProSoundNetwork.com

Christ Fellowship Miami Gets Triple the Systems

Christ Fellowship Miami in Florida updated half its locations with new L-Acoustics Kara systems.
Christ Fellowship Miami in Florida updated half its locations with new L-Acoustics Kara systems.

Miami, FL (March 8, 2021)—Christ Fellowship Miami has a half-dozen South Florida locations and three of those sites—Palmetto Bay, Doral, and downtown Miami—recently updated their audio with L-Acoustics Kara sound systems designed and integrated by Colorado-based Summit Integrated Systems.

Christ Fellowship Miami multisite production director Garrett Siljee oversees all AVL-related matters for the church, including campus technology design planning and tech staffing. “One of my primary responsibilities is crafting the weekend experiences at all of our locations, and sound is a big part of that,” he notes.

Siljee says he was first introduced to L-Acoustics at a product demo staged at South Florida’s Miccosukee Resort & Gaming venue; impressed, he invited Summit Integrated Systems to demo a Kara system for the church’s leadership and staff at its Palmetto Bay location.

Systems for the Palmetto Bay, Doral and downtown Miami campuses were designed by Summit using L-Acoustics Soundvision modeling software. “The church wanted a high-output sound system in all of its locations, to support its music and high-energy worship style, and Kara was the perfect choice for all of these campuses,” says Summit’s director of projects, Deron Yevoli.

The concrete walls at Christ Fellowship Miami’s 500-seat Doral location keep the roar of nearby Miami International Airport at bay, but their reflective surfaces can present an acoustic challenge, so the Kara system’s directivity was applied to keep sound focused on the audience and off of the walls. The Doral campus’ new system comprises 12 Kara(i) enclosures flown across two arrays, with eight floor-mounted SB18 subs, plus eight ultra-compact 5XT and two short-throw X8 deployed as outfills. All are powered by one LA12X and four LA4X amplified controllers.

The nearby Palmetto Bay campus, which features a more traditional Baptist-type church design, also serves as Christ Fellowship’s broadcast center. There, 24 Kara(i) are now divided and flown in four hangs, with 12 SB18 subs on the floor, a dozen 5XT as frontfills, and eight X12 for delay, all powered by a 12 LA4X.

Worshiping Together While Apart

The downtown Miami location, a former cathedral that is now being renovated, is the largest of the three sites Summit has worked on with Christ Fellowship. Scheduled to open by Christmas 2021, the church’s third campus will feature an L-Acoustics system and be comprised of 18 Kara II and eight KS21i subs. In addition, eight 5XT provide frontfill while six X8 serve as underbalcony fills. The subs are powered by one LA12X, while seven LA4X drive the rest of the loudspeakers.

“Multisite churches tend to want to have cookie-cutter buildings so that the looks and the sound are the same everywhere, but that’s not easy to do in the Miami area, where the rents and the costs to own are so high,” Siljee explains. “Having the L-Acoustics systems sound very differently in each location was my biggest initial concern. Even though none of these spaces are at all similar, Kara provides very consistent sound for all of the rooms we’ve heard them in.”

“What everyone, including our membership, has commented on is that the sound no longer hurts. Our old system was very harsh sounding; the new Kara system is anything but. Now, our churches can create the kind of energetic worship experiences we want and it sounds great. Kara turned complaints into compliments.”

Christ Fellowship Miami • www.cfmiami.org

Summit Integrated Systems • www.summitintegrated.com

L-Acoustics • www.l-acoustics.com

Original Resource is ProSoundNetwork.com

KLANG:kontroller Immersive Personal IEM Mixer Debuts

KLANG:kontroller
KLANG:kontroller

New York, NY (March 3, 2021)—KLANG:technologies has released its new KLANG:kontroller, a hardware controller that is compatible with all KLANG immersive in-ear mixing processors, and a new processor, KLANG:vokal, intended to aid musicians’ personal monitoring needs.

The KLANG:controller is essentially a standalone hardware controller that offers the same mixing functionality as the company’s KLANG:app, along with a Dante headphone amp. The unit provides tactile user control of channels, groups and immersive mixing via an intuitive interface that centers around color-coding and channel names.

Relative DCA group mixing and full single-channel control via eight push rotary encoders is onboard as well, with eight rotaries that allow musicians to balance their in-ear mix.

The onboard headphone amplifier delivers audio for in-ear monitors and high-impedance headphones, with both 3.5mm (1/8″) as well as 6.3mm (1/4″) stereo TRS connectors. Two XLR outputs can be connected to, for example, wireless in-ear transmitters. Installation-friendly features like Power over Ethernet, remote setup via the KLANG:app, and automatic Dante routing are included. KLANG:kontroller gives musicians full control of all relevant functions, while the engineer can still overview and control all mixes via the KLANG:app or DiGiCo SD or Q series consoles.

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User Presets, plus USB import and export, are offered, allowing users to save personal presets, which can then be imported into the KLANG:kontroller, allowing the unit to be used by any number of musicians.

Binaural ambient microphones are built into the unit; they can be blended into the immersive in-ear mix, along with a local stereo aux input for, for example, a click track or playback from a phone. The mix can be sent back to the Dante network or, alternatively, the ambient microphones, or aux input can be shared with other musicians.

KLANG is also releasing a new immersive mixing processor, KLANG:vokal, which offers a dedicated feature set that allows up to 12 musicians to pick up to 24 mono or stereo channels out of 64 Dante and MADI inputs. Based on KLANG’s FPGA core, KLANG:vokal offers 12 mixes of 24 mono or stereo inputs at 48 kHz and 96 kHz, including the company’s Root-Intensity EQs.

KLANG:technologies • www.KLANG.com

Group One Ltd. • www.g1limited.com

Original Resource is ProSoundNetwork.com

Solotech Acquires Morris Light & Sound

In recent years, Morris Light & Sound has provided sound for five stages at Nashville's annual CMA Fest.
In recent years, Morris Light & Sound has provided sound for five stages at Nashville’s annual CMA Fest.

Nashville, TN (March 3, 2021) – Solotech is broadening its footprint in Nashville with the acquisition of Morris Light & Sound and its systems integration division, InteRise. Morris Light & Sound has long provided audio for artist manager Dale Morris’ acts such as Kenny Chesney as well as high-profile events like CMA Fest, but in recent times has also become known for its lighting work, providing lights for 2019 treks by BTS and Maren Morris. Meanwhile, InteRise has focused on integration work in megachurches and the like.

Morris Light & Sound was formed nearly 30 years ago to outfit tours for the country music group Alabama. “The audiences that Alabama drew were unprecedented in Country Music at that time,” Morris stated. “We needed a sound system that would project their music over the sounds of the crowd, so I turned to an audio company in L.A. who configured sound systems for rock groups which was what we needed. I purchased the system out of necessity for Alabama, and that’s how we got started in production.”

The InteRise systems integration division, meanwhile, was created to answer the growing needs of houses of worship and corporate campuses looking to update their audiovisual experiences. Martin Tremblay, president and CEO of Solotech, remarked, “The Morris Light & Sound and InteRise brands will be strong additions to the Solotech family, perfectly complementing our corporate goals and expanding our capabilities as well as our footprint in the United States. With this acquisition, the increased reach of Solotech as a leader in audiovisual and entertainment technology will reinforce our positioning as an industry innovator.”

“The Morris name has a strong reputation throughout the music industry, and we respect the brand and quality of services that Dale has built,” noted Mickey Curbishley, president, Live Productions, USA and UK, Solotech. “Solotech will be proud to join our two companies with the common philosophy of delivering outstanding services and solutions to our clients.”

Zack Morris, COO of Morris Enterprises, added, “We are excited to have the Morris brands acquired by Solotech, a highly respected company in the industry. Our company cultures and values such as collaboration and exceptional performance complement each other, and we’re confident our clients will continue to receive an elevated experience.”

Morris • https://experiencemorris.com

Original Resource is ProSoundNetwork.com

Avid Unveils Venue 7 Update

The latest update to Avid’s Venue line includes three system I/O sharing and Milan network connectivity.
The latest update to Avid’s Venue line includes three system I/O sharing and Milan network connectivity. Bill Schwob

Burlington, MA (February 22, 2021)—Avid has released Avid Venue 7, the latest update for its Venue line of live sound consoles, debuting a number of new features and enhancements in the process.

Avid Venue software now supports I/O sharing across three Avid Venue | S6L systems, providing more workflow flexibility without affecting sound quality. Support for I/O sharing makes it easier to add a broadcast console or second monitor console to a setup or enable fast switchover at festivals and concerts. With I/O sharing, microphone feeds can be split digitally over the network so engineers only have to build one set of I/O racks; meanwhile, all I/O configurations support Avid’s True Gain technology, which automatically manages gain compensation to ensure proper signal levels are maintained for each engineer.

With Venue 7, users can now send and receive up to 128 channels of audio between Avid Venue | S6L systems and Milan (media-integrated local area network) certified devices – including loudspeakers, amplifiers and other pro audio devices – with the new MLN-192 Milan Option Card and latest Avid Venue software. The format’s plug-and-play connectivity lets users distribute audio to Milan-enabled devices over an Ethernet AVB network, with no switch configuration or IT expertise required.

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“As the world’s first live sound console to be certified by the rapidly growing Milan protocol and the only one to offer gain-compensated I/O sharing between three systems, this is more than just a software update – Venue 7 truly takes a giant leap forward,” said Dana Ruzicka, SVP & GM of Audio & Music Solutions at Avid. “Although live performances have been hit hard by the ongoing pandemic, Avid remains fully committed to innovating for the live sound industry. We’re doubling down with the biggest software release since shipping the S6L system, giving engineers and sound designers the power and performance they need to deliver the best possible live sound productions.”

Venue 7 also provides control of delay compensation to help users tackle plug-in-heavy mixes with complex routing requirements. Aligning busses and matrixes is simplified through Automatic Delay Compensation (ADC) settings, while the new Input Delay Alignment command aids aligning selected input channels to compensate for any plug-ins inserted on those inputs. Other new additions include USB recording and playback, new mixing features and a variety of processing and routing options.

Avid • www.avid.com

Original Resource is ProSoundNetwork.com

Good Shepherd Church Rounds Up New Gear

Good Shepherd Church audio team assistant manager Ji Hyeon-seok (left) and team leader, Kim Hyun-seok, with their new Allen & Heath Avantis console.
Good Shepherd Church audio team assistant manager Ji Hyeon-seok (left) and team leader, Kim Hyun-seok, with their new Allen & Heath Avantis console.

Bokjeong-dong, South Korea (February 10, 2021)—Local house of worship Good Shepherd Church in Bokjeong-dong, South Korea, recently updated the audio system in its secondary chapel, Glory Hall, with the new addition of an Allen & Heath Avantis console, along with a set of ME-1 personal mixers for the praise team. Despite the pandemic, both chapels are still in active use, though services are being held with reduced capacity.

The previous digital console installed in the Glory Hall had begun to show its age and was struggling to accommodate growing channel counts. Working closely with Allen & Heath distributor, Sama Sound, Good Shepherd Church made the upgrade to a 64-channel, 42-buss Avantis mixer, expanded with the dPack processing upgrade and a GX4816 AudioRack for onstage I/O.

Allen & Heath Debuts MADI Option Card for SQ

Concurrent to the arrival of the new console was the implementation of a compact, discreet ME personal mixing system, replacing the praise band’s wedge system. Connected to the Avantis via a ME-U hub, a half-dozen ME-1 units allow the musicians to create their own headphone mixes. “Thanks to the ME-1 personal mixers, the sound on stage is well managed, making mixing easier, and the performers are comfortable because the sound quality is very high and they are easy to operate,” explains Kim Hyun-seok, leader of Good Shepherd Church’s audio team.

They aren’t the church’s first A&H consoles, either, as SQ series mixers were already installed in two spaces, with an SQ-7 console in the 300-seat Vision Hall, a multi-purpose facility used for youth worship, and an SQ-6 mixer installed in the praise team’s rehearsal space in the Church’s basement.

Allen & Heath • www.allen-heath.com

Original Resource is ProSoundNetwork.com