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Tag Archives: HOW Sound

Newhope Church Livestreams with Waves

Dave Bookhout, director of Creative Arts & Worship of Newhope Church in Durham, NC, with the church’s Waves eMotion LV1 Live Mixer.
Dave Bookhout, director of Creative Arts & Worship of Newhope Church in Durham, NC, with the church’s Waves eMotion LV1 Live Mixer.

Durham, NC (July 8, 2020)—Under the COVID-19 pandemic, many houses of worship have turned to livestreaming to continue reaching their communities. Creating a fulfilling worship experience for viewers online is no simple task, as Dave Bookhout, director of Creative Arts & Worship of Newhope Church in Durham, North Carolina, has seen in recent times. While the church has livestreamed since before the health crisis, Bookhout has been using a variety of technologies, including a Waves eMotion LV1 Live Mixer and Waves plug-ins, to stream the church’s services and ensure they sound as intended.

“We’ve been broadcasting our services from our six campuses (Durham, Garner, Hillsborough, Wake Forest, Sanford, Kenya, and iCampus) for a while now, but since COVID, it’s become the most important thing we do on a weekly basis,” said Bookhout. “Sometimes we broadcast live using the eMotion LV1, and at other times we pre-record and then mix and master the broadcast using Logic, with all the same Waves plug-ins that we use on the LV1. Week in and week out, we use the Waves eMotion LV1 live mixer in our broadcast suite.”

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“We are running four Dell TouchScreen monitors in our setup,” Bookhout says about the church’s system; “Our DiGiGrid MGO optical MADI interface transports 128 channels between two MADI cards in our Midas Neutron and the Waves SoundGrid network. We have a Waves SoundGrid Extreme Server to handle the plug-in processing; we have almost every Waves plug-in in our arsenal, and we are using many of them at any given time, so a powerful server is crucial. We also have a DiGiGrid IOC audio interface in our broadcast suite functioning as the LV1’s local I/O to transport audio to our studio monitors. We run 48 channels of the Waves SuperRack at front-of-house, using a Midas Pro X console, all I/Os being shared with the broadcast suite. So, we have 128 channels going on/off the Waves SoundGrid network, and the broadcast suite uses 72 channels while FOH has access to 48. We also utilize the SoundGrid Driver with a DAW for virtual sound check at both FOH and for broadcast, to get everything dialed in between our rehearsals and Sunday morning. That’s invaluable for us.”

On choosing the LV1 for streaming, Bookhout says, “We were already running SoundGrid through our Midas console at FOH, so adding LV1 for broadcast was a no-brainer. Also, the ability to run Waves plug-ins on every channel as well as on the master gives us every tool needed to create an incredible mix. When broadcasting to Facebook and YouTube, mastering is ultra-important, and we are able to achieve great results that we were only able to hear previously when mastering in a DAW.”

He sums it up: “Adding eMotion LV1 into our streaming/broadcast workflow has greatly improved our mix quality. Having the ability to drop any Waves plug-in on any channel at any time is powerful. When people tune in to our online broadcast, there is nothing more important than the mix. It doesn’t matter how good our video is; if the audio is sub-par, people will quickly leave and watch something else. Waves gives us every tool we need to build the best online streaming mix possible, which allows us to create incredible worship experiences, week in and week out.”

Waves • www.waves.com

Mt. Horeb UMC Goes Quantum with DiGiCo

Megachurch Mt. Horeb UMC upgraded its DiGiCo Quantum338 console, debuting it for services last month.
Mt. Horeb UMC Production manager and lead audio engineer Seth Ely at the church’s new DiGiCo Quantum338 FOH mixing console.

Lexington, SC (June 7, 2020) — Mt. Horeb UMC in Lexington, SC moved into a custom-built $17 million auditorium in 2015, outfitting it with a pair of DiGiCo SD9 consoles as front-of-house mixers for the church’s east and west worship spaces. Now the larger of the two sanctuaries—the 1,900-seat auditorium used for contemporary worship—has received an audio update with a brand-new DiGiCo Quantum338 console.

The Quantum338 desk was installed and commissioned by Clark, an Atlanta-based design-build firm, which also integrated two DiGiCo SD-Racks with 32-bit “Ultimate Stadius” mic preamps and one SD-MiNi Rack in the church’s video production room. While taking pride of place at FOH, the displaced SD9 is now handling monitors in the room.

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“The challenge for this project was that the auditorium also hosts some very big touring concerts with some well-known Christian music performers, as well as the church’s Christmas and Easter shows,” said Clark’s Brian Morrison. “In addition, the worship leader was considering adding some additional musicians onstage for their Sunday services. The SD9 is a great console, but it was reaching its input and output limit, so the Quantum338 was the perfect solution for them at this time.”

The Quantum338 desk is on an Optocore fiber loop, which makes access to the FOH and monitor consoles and the auditorium’s d&b audiotechnik PA system simpler for visiting artists and engineers. “They can plug directly into the stage pockets and access the ‘Stadius’ 32-bit mic pre’s in the racks and the console on the network,” Morrison says. “Quantum gives the church the flexibility they need as they grow while also providing a workflow they were used to, and it hit a price point that they wanted to stay within. It was right on target in every way.”

As he spoke, Mt. Horeb UMC production manager and lead audio engineer Seth Ely was preparing for the Quantum338 desk’s debut performance in the church, on June 14th, noting, “This is the right console for us, and it came along at the perfect time.”

Mt. Horeb United Methodist Church • www.mthorebumc.com

Clark • www.clark.is

DiGiCo • www.DiGiCo.biz

Waves Launches FIT Controller for eMotion LV1 Live Mixer

Waves Audio has unveiled its new Waves FIT Controller for the eMotion LV1 Live Mixer.
Waves Audio has unveiled its new Waves FIT Controller for the eMotion LV1 Live Mixer.

Knoxville, TN (June 25, 2020)—Waves Audio has unveiled its new Waves FIT Controller for the eMotion LV1 Live Mixer. Developed specifically for the LV1, the FIT is a tactile live sound controller created in collaboration with MidiPlus.

FIT is designed to function as a 16-fader bank with the LV1 mixer, sporting 16 + 1 motorized 100 mm faders, each featuring Mute, Solo and Select buttons, a multi-function rotary control and a display for each channel. Fader banks are controlled using eight dedicated layer switches for toggling between the eight factory or custom layers in the Waves eMotion LV1 Live Mixer.

The channel rotary controls can be set to adjust preamp gain or pan per channel with the corresponding function label shown in the display. In addition, the 16 Select channel toggles can be set to “User” mode to provide easy access to Mute Groups and user-assignable keys.

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The channel rotary controls can be set to adjust preamp gain or pan per channel with the corresponding function label shown in the display. In addition, the 16 Select channel toggles can be set to “User” mode to provide access to Mute Groups and user-assignable keys.

The FIT controller also provides audio engineers with a Tap Tempo pad and a “Touch & Turn” knob for controlling any parameter selected on the eMotion LV1 screen. Additionally, common LV1 functions and modes can be controlled from the Utility section, where some of the controlled functions be customized by the user.

The controller weighs 4.5 lbs. and can be fitted with rack ears to mount into a 19-inch 7U rack space. Rear panel connections include a USB Type B port for computer connection, 12V 2A DC power input, and two 5v 0.5A USB outlets for external LED lighting.

Waves Audio • www.waves.com

JBL BRX300 Series Line Array Debuts

JBL BRX300 Series Line Array
JBL BRX300 Series Line Array

UPDATEJBL Professional has updated its product announcement to note that the BRX300 Series Line Array is specifically only available for the APAC, China and India Markets.

Northridge, CA (June 23, 2020)—JBL Professional has launched its new JBL BRX300 Series of modular line array systems intended for use in small- to mid-size applications, such as bands, DJs, A/V rental firms, houses of worship and the like

The series launches with a variety of offerings—the BRX308-LA line array element, BRX325SP powered subwoofer with DSP, BRX308-ACC transport kit, BRX308-AF array frame and BRX308-PM pole mount and adapter kit, aiming to provide users with a scalable set up that arguably scales down JBL’s venue-sized line arrays to something that bridges the gap between those and a PPA.

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The BRX300 Series can be configured to accommodate a range of live music events, receptions and corporate functions. Systems are available in minimum one-subwoofer/two-top or one-subwoofer/four-top configurations and can be stacked, pole mounted or hung.

The BRX308-LA line array element features dual 8-inch LF drivers and a 3-inch titanium compression driver, reportedly providing 136 dB output and 110° horizontal dispersion, with variable interbox angles for fine-tuning vertical coverage. Meanwhile, the BRX325SP dual 15-inch powered subwoofer extends low-frequency energy to 32 Hz, with built-in 1,000-watt, 6-channel amplification providing 136 dB output and powering up to four BRX308-LA Line Array Elements. Internal DSP handles EQ, filters, driver-protection circuitry and crossover management, while built-in casters simplify transport.

That said, the BRX308-ACC transport kit also provides a self-contained transport system for four BRX308-LA Line Array Elements and includes padded covers for the cart, BRX3255 powered subwoofer and required speaker cables. Along with that, the BRX308-AF array frame supports one BRX325SP powered subwoofer or up to eight BRX308-LA line array elements in flown configuration, while the BRX308-PM pole mount and adapter kit mounts up to two BRX308-LA line array elements.

The JBL BRX300 Series will be available in July, 2020.

JBL Professional • www.jblpro.com

1873 Cathedral Updates with 2020 Audio System

Built in 1873, St. Eugene’s Cathedral in Derry, Ireland, now sports a sizable d&b audiotechnik xC-Series system.
Built in 1873, St. Eugene’s Cathedral in Derry, Ireland, now sports a sizable d&b audiotechnik xC-Series system.

Derry, Ireland (June 8, 2020)—Following an architectural refurbishment and technical systems upgrade to match, St. Eugene’s Cathedral in Derry, Ireland, now sports a sizable d&b audiotechnik xC-Series system to help parishioners hear sermons within the massive stone house of worship.

Built in 1873, the cathedral is from an era before audio systems, and has the reflections and reverberations to prove it. Looking to tame them, however, the church turned to acoustical consultant Michael Kielty of Belfast-based MK Audio, who in turn recommended a distributed system, and contacted Absolute Technologies for a specific solution recommendation that would meet the church’s requirements.

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Absolute Technologies brought on the xC-Series column loudspeakers from d&b audiotechnik. Supported by Oran Burns from d&b’s Application Support team, Absolute made an initial design for the church using d&b ArrayCalc software to predict coverage and decide on suitable loudspeaker positions. Following this, an in-situ system demonstration was arranged and was decided upon as the solution for the church.

The design uses an inner pair of d&b 24C-E cabinets at the front and an outer pair of 24C serving the aisles; further down the room are two more pairs of 24Cs as delays, again arranged as inner and outer pairs. The system is powered by two d&b D10 amplifiers. For control, simplicity was key, with as little user interaction required as possible. An Allen & Heath Qu-Pac mixer is provided, with presets for the various regular services.

Aside from intelligibility, St. Eugene’s presented another major challenge: building restrictions forbid the fixing of hardware to walls and pillars. The only option was the creation of custom floor-mount brackets. Designed in conjunction with the architect and a specialist engineering company, each bracket is unique, to account for floor height and pan angle, and incorporates a plate for mounting beneath the floorboards and a rear cover to hide mounting bolts and cable. The back plate is finished in the same RAL colour as the loudspeaker, and the base plate in stainless steel to reflect its surroundings.

d&b audiotechnik • www.dbaudio.com

Audio-Technica Updates Wireless Manager Software

Audio-Technica Wireless Manager Software
Audio-Technica Wireless Manager Software

Stow, OH (June 8, 2020) — Audio-Technica has updated its Wireless Manager software with V1.1.1. The software is a Mac OS/Windows application for remote configuration, control, monitoring, spectrum management, and frequency coordination of compatible Audio-Technica wireless devices.

The new version provides improved usability, layout and control; enhanced scrolling capability; improved visibility of all frequency coordinated devices; updated and expanded channel list reports; upgraded user tools; and minor bug fixes.

Wireless Manager provides control and management functions of networked devices, grouped into three tabs: Device List, Frequency Coordination and Monitor. The software’s Device List auto-discovers connected compatible A-T hardware and allows users to populate a device list of Audio-Technica and other manufacturers’ wireless systems. From the Device List tab, users can edit/modify transmitter and receiver parameters of network-enabled Audio-Technica devices, including projects created offline. Devices can be assigned tags for filtering for frequency coordination and monitoring purposes.

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The Frequency Coordination function allows real-time spectrum scanning via connected network enabled receivers. Based on spectrum availability, Wireless Manager provides an estimate of available channels and uses a proprietary algorithm to automatically create a channel plan and then pushes that plan to all connected network A-T devices. Users have the option of setting manual frequency exclusions to avoid prohibited frequency bands and other wireless systems in operation at a given location.

A-T Wireless Manager software is compatible with all wireless devices operating in the UHF spectrum, but when used with Audio-Technica 5000 Series (3rd Gen) and 3000 Series (4th Gen) with network control and monitoring, the software can coordinate and control all connected systems. The software can also interface with and monitor the latest 3000 Series networked chargers.

Currently available for download, the software is compatible with Microsoft Windows 8.1, 10; macOS High Sierra (Version 10.13), macOS Mojave (Version 10.14). For those customers who have A-T Wireless Manager previously installed, the software will be automatically updated.

Audio-Technica • www.audio-technica.com

Hotshot 48V Condenser Mic Switcher Launched by Radial

Radial HotShot 48V Mic Switcher
Radial HotShot 48V Mic Switcher

Vancouver, Canada (June 8, 2020)—Radial Engineering has introduced its new HotShot 48V Microphone Switcher, intended for use in live sound scenarios.

Aiding private communication between performers and crew or each other, the Hotshot 48V footswitch allows a live performing artist to redirect a condenser or dynamic microphone signal away from the main house system to the stage monitoring or in-ear system for discrete communication.

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The unit features a transformer-isolated XLR input and two independent XLR outputs. The balanced input accepts both mic and line-level sources, enabling the connection of microphones, an effects device, line-level output of a vocal processor, or any other balanced signal in the audio chain.

While the switcher is specifically designed to address issues when switching condenser microphone outputs, it works equally well with dynamic mics also. The unit is also noted to be “pop-less;” while passive audio switchers occasionally create an audible pop during switching due to the introduction of phantom power or by stray DC, the unit employs active circuitry and a time delay microcontroller for silent switching. A five-millisecond delay is introduced when the switching relay is activated, preventing audible noise.

The HotShot 48V’s footswitch operates in either momentary or Latch switching mode, and LED indicators display the selected output. 48V phantom is supplied, and the unit is powered by an included 9V PSU.

Radial Engineering • www.radialeng.com

Radial Launches BT-Pro V2 Stereo Bluetooth DI

Radial’s new BT-Pro V2 Bluetooth DI
Radial’s new BT-Pro V2 Bluetooth DI

Canada (May 21, 2020)—Radial Engineering has shipped its new BT-Pro V2 Bluetooth DI. The unit is intended for feeding smartphones, tablets and other Bluetooth devices to a PA system, studio interface or powered speaker.

Expected applications include houses of worship, installed sound (gyms, dance studios), live sound, studio, DJ, presentations or any environment where providing music playback via Bluetooth connection is desired.

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According to Radial, the new V2 edition of the BT-Pro provides “significantly improved audio quality and range.” Since many users need to connect multiple devices in a single room, each BT Pro-V2 ships with a unique ID. The new BT-Pro V2 can now be powered by either 48V phantom or a USB-C connection.

Like the original, the BT-Pro V2 includes an output level control with an output range from mic level to line level. It also features Mono-sum, Pair/Reset switches, and a 3.5 mm headphone output. An updated chassis design makes the BT-Pro V2 more durable and extends the Bluetooth connection range.

The BT-Pro V2 has a unique identifier that shows up as a six-digit numerical code, allowing users to connect an iPhone to the PA without having to search through drawers looking for wires.

Radial Engineering • https://www.radialeng.com

Exclusive: Yamaha Launches Rivage PM5, PM3 Desks, DSPs, More

Yamaha's New Rivage PM5 Console.
Yamaha’s New Rivage PM5 Console.

New York, NY (May 20, 2020)—Since its introduction in 2014 with the PM10 digital mixing system and the subsequent PM7 in 2018, Yamaha’s Rivage Series has been the company’s flagship for touring and installation mixing consoles, with the distinctive desks often spotted at front of house on tours or in megachurches. Pro Sound News recently got an exclusive sneak peek of Yamaha’s most ambitious expansion for the series yet, as the company introduces two new consoles—the PM5 and PM3—as well as a pair of new DSP engines—DSP-RX and DSP-RX-EX—and Version 4 firmware that provides features to new and legacy Rivage systems.

Yamaha Rivage PM5 Digital Mixing System

Yamaha Rivage PM5 Digital Mixing System
Yamaha Rivage PM5 Digital Mixing System
Yamaha Rivage PM5 Digital Mixing System

Both of the new consoles feature large, capacitive touchscreens that let engineers use multi-finger gestures (think the “pinch” motion used on smartphones), with the PM5 sporting three screens, while the PM3 gets one. As with their predecessors, the PM5 and PM3 each have 38 faders—three bays of 12, with two masters—but the new control surfaces are laid out with an eye toward efficiency.

Yamaha Rivage PM5 Digital Mixing System in use.
Yamaha Rivage PM5 Digital Mixing System in use.

“With the PM5, some people will think of it as the as the PM5D replacement, but it’s so much more than that,” said Kevin Kimmel, systems application engineer, Yamaha Commercial Audio. The CS-R5 control surface for the PM5 may be roughly the same width as a PM7 or PM10, but it has a shorter depth, at just over 23 inches, and is laid out somewhat differently. Making room for that third screen, the Selected Channel section on the right side of a PM10 or PM7 now has a smaller footprint and fewer knobs as well. Likewise, the meters that were above the ‘on’ button and by the Select buttons are now alongside each fader, while the LCD channel strip is gone, replaced by names across the bottom of the screens. While the drastic change might give some engineers pause for thought, Kimmel notes, “After I got to mix on it, I went, ‘Yeah, this is actually pretty cool.’”

The shorter depth of the CS-R5 control surface isn’t only about dropping the LCD channel strip; it puts the touchscreens within a comfortable reach, is expected to provide clearer sight lines and helps bring the control surface’s weight down to 93 pounds, aided in part by the fact that the frame on both new control surfaces is now aluminum.

Yamaha Rivage PM3 Digital Mixing System



The PM3’s CS-R3 control surface scales things down even further, resulting in the most compact Rivage console to date, weighing in at 84 pounds and measuring 45 inches wide, making it only slightly wider than a CL5 digital mixer. “It’s a natural progression to go from a CL or QL to this because within the GUI we’ve made it look a fair amount like CL,” said Kimmel. “If you come to it from those consoles, you’re not so intimidated when you walk up to it.”

DSP-RX and DSP-RX-EX

Of course, control surfaces are only part of the story—it’s the DSP and firmware under the hood that do the heavy lifting. As it happens, both the new DSP-RX and the DSP-RX-EX, as well as the existing DSP-R10, can be used with any Rivage system except the PM7 (its DSP is already built-in).

“The DSP-RX is 120 inputs by 48 mixes and 24 matrices—the same number of inputs as a current PM7, with a bit fewer on the output side—and visually, it looks very similar,” said Kimmel. “The DSP-RX-EX doubles the inputs, going to 288 inputs with 72 mix outputs and 36 matrix outs. It also increases the amount of plug-ins—in DSP-RX, there are 384 ‘slots’ for plug-ins, and now you get 512 with DSP-RX-EX. It’s quite a jump. Now, if you’re using the DSP-RX and eventually decide you’ve outgrown it, there’s a DEK-DSP-RX expansion kit so you can bump it up to become an EX with the same channel count and plug-in amount.” DSP mirroring is also supported by the new DSPs, allowing two DSPs to be run simultaneously to provide redundancy.

Version 4 Firmware

As for the firmware update, Version 4 brings legacy and new Rivage desks a number of additions, including an Eventide SP2016 reverb plug-in that includes presets developed by the likes of George Massenburg, Dave Pensado and Joe Chiccarelli. Additionally, Yamaha’s MonitorMix app for iOS is now supported, allowing individual wireless Mix/Matrix/Aux mixing from up to 10 iPhones or iPads simultaneously. Rivage PM7 owners aren’t left out from the updating—the v4 firmware increases the PM7’s channel count from 120 to 144 and serves up another dozen Matrix Outs for a total of 36. Other new features include flexible HY-car slots in DSPs, updates to the GUI, NuendoLive included for both the PM3 and PM5, and more. Users can expect continued support for some third-party efforts, like the L-Acoustics’ L-ISA DeskLink, and Yamaha plans to add third-party plug-ins down the road.

At press time, Yamaha was still hammering out prices on the new offerings, but the summer months will see the PM5 and v4 firmware debut, while the PM3 will hit the ground in the fall.

Yamaha • https://usa.yamaha.com/products/proaudio

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