Tag:installed sound

A comprehensive renovation project at St James Church (in Buckinghamshire, UK), saw house of worship specialist company, SFL Group taking, on a substantial audiovisual technical installation.

St James ChurchKey to the installation was a digital network using a Roland M-480 Live Digital Console, M-48 Personal Mixers and Digital Snake. The SFL Group was responsible for the design, supply and installation of the audio network, along with video and lighting systems that included a bi-directional A/V link-up to the church centre 300m distant.

The multi-function venue serves around 800, with St James holding up to 11 worship events on a Sunday, with upwards of 750 people taking part in the services and activities. Music plays an important role in the services and in attracting new members, particularly with the younger contemporary church goers. The audio solution designed by Tim Horton at SFL Group, needed to accommodate a variety of set-up configurations from spoken word, to a traditional choir and organ, to eight-piece contemporary bands and solo singer/songwriters that may perform in any one day.

The solution needed to be compact, simple to operate, and flexible to cater for these different uses, while taking into consideration the 150-year-old structure of the building.

St James ChurchThe Roland M-480 console provided the 48 channels required and combined with the Digital Snakes (S-4000S 32-input/8-output Modular Stage Unit, S-0816 FOH Unit and S-4000D Distribution Unit) gave a dramatic reduction in the technical system’s footprint and cabling. Digital audio transmission via Cat5e is supported by the Digital Snakes, with the M-480 and Roland S-OPT optical converters distributing audio to the main church and 300m to the centre without any delay or loss in quality. M-Six M-48 Live Personal Mixers eliminated the need for on-stage monitors, and allows musicians to control their own in-ear mixes.

‘This has been a long-term project with a fair degree of technical challenges,’ says Tim Horton, Project Manager for SFL Group. ‘We take great pride in handing over the finished product that meets the church’s technical requirements both on-time and on budget, while maintaining the highest possible standards. The flexibility and ease-of-use of the Roland products certainly helped us to achieve such a high quality solution.’

 

Designed by Rudolf Steiner, Switzerland’s Goetheanum is the global HQ of the Anthroposophical Movement, where an upgrade to the house sound system has recently been completed with the installation of two Allen & Heath iLive digital mixing systems.

GoetheanumDedicated to Johann Wolfgang von Goethe, founder of the philosophy of anthroposophy, the iconic building now boasts two iDR-32 MixRacks configured in DualRack mode with an iLive-T80 Surface in the control room in its main 1,000-seat auditorium. A smaller iDR-16 MixRack has also been purchased as a portable system to be used with a PL-10 remote controller in the venue’s smaller lecture and conference theatres, or added via the network for additional I/O in the main auditorium.

The Goetheanum hosts performances by artists from its in-house community, including the eurythmy dance troupes, as well as visiting performers from around the world. There are also conferences focusing on themes of general interest several times a year, as well as a regular schedule of conferences for teachers, farmers, doctors, therapists and other professions.

Anthroposophy, meanwhile, postulates the existence of an objective, intellectually comprehensible spiritual world accessible to direct experience through inner development, and aims to develop faculties of perceptive imagination, inspiration and intuition through cultivating a form of thinking independent of sensory experience...

More: www.allen-heath.com

 

Actor/singer/dancer, Bernd Julius Arends has performed in large musical productions for more than 20 years, giving him extensive experience of productions such as Beauty and the Beast, Jesus Christ Superstar, My Fair Lady. When the opportunity came to turn the ambition of establishing his own theatre, he was able to call on his experience of theatres across Europe and the sound systems used in them.

Katielli TheaterThe result is the Katielli Theater in the German city of Datteln, which has become a favoured venue with the German cabaret and musical communities. Opened in 2010, the theatre – formerly a small art-house/repertory cinema – has recently been fited out with a new t&mSystems audio system, designed and installed by Prosound Eventservice.

‘To open a private theatre these days is a substantial undertaking, particularly with funding,’ he says. ‘That has made it very important for us always consider the best possible price-to-performance ratio in every area, including the audio system.’

Arends set the budget and t&mSystems arreanged in listening tests with Thorsten Brinkmann of Prosound Eventservice, in order to evaluate the  most suitable system: ‘Intelligibility was a major requirement, of course, but also full-range music reproduction” Brinkmann says. “The t&mSystems Unity series really stood out from the crowd – I couldn’t believe the price, given the standard of construction and high-quality components used. The sound quality is outstanding.’

The Katielli Theater FOH system comprises two t&mSystems Unity 12 loudspeakers and XS115T subwoofers left and right, and a t&mSystems Unity 10 for centre fill. Four active t&mSystems FG101A are available as floor monitors.

More: www.t-m-systems.com
More: 
www.prosound-muenster.de
More: 
www.katielli.de

 

Counting more than 20,000 people attending its 14 Sunday services, Jiguchon (지구촌교회 – Global Mission) is one of South Korea’s evangelical megachurches.

EX-007With four buildings to serve – the main Bundang church and the GMN Chapel in Bundang-gu, the Suji church in nearby Suji-gu and the Gyeonggi University Chapel in Suwon-si – the church manages its audio with a newly installed DiGiCo SD7 console with EX-007 expander.

The SD7 and EX-007 provide two discrete mixes. The first –from the SD7’s surface – is for the congregation, while the other is a ‘broadcast mix’ which is routed to different rooms and the church’s other buildings from the EX-007.

‘The acoustics in the main hall are quite difficult, so if they transmit the front of house mix to the other rooms and buildings it can be quite a harsh sound,’ says Chanwoo Kang of DiGiCo’s South Korea distributor, Soundus Corporation. ‘Because the SD7 has such a high channel count and, by using it with an EX-007 they could produce two completely separate live mixes, mixed by two different engineers, from a single set of rack inputs.’

Jiguchon SD7A key feature of the system’s flexibility is that the SD7 and EX-007 are installed in different locations – the SD7 is in the main body of the church, while the EX-007 is in a separate broadcast room. An additional DiGiRack in the broadcast room provides extra audio inputs and outputs, which are handily placed for the EX-007 mix engineer.

‘The church is using around 70 channels for the FOH mix and another 70 for the transmitting mix,’ says Chanwoo. ‘The channels are split into different layers, which allows them to perform the independent mixes at the two positions. The SD7’s dual redundant engines are mirrored for the utmost stability and the brilliant sonic quality means that both the FOH and the broadcast mixes deliver superb results.’

In addition to the Sunday services – which include gatherings for children, youth, university groups, young adults, foreign language services in English, Chinese, Japanese and a specific service for foreign workers – the Bundang church holds prayer meetings every day except Sunday and additional Wednesday services.

‘Initially, rack sharing and redundant mirroring were unfamiliar concepts to the church’s sound engineers, but they learned mixing on the system very quickly and they are very happy with what is a uniquely flexible set-up,’ Chanwoo reports.

More: www.jiguchon.org
More: www.soundus.co.kr
More: www.digico.org

 

The Stefan Jaracz Theatre in the Polish city of Łódź– one of the oldest theatres in the region – has become the first customer for Midas’ Pro1 standalone digital mixing console.

The sale was handled by Polish distributor Audio Plus, and follows one of the comprehensive Midas Pro Series Training events in the EMEA region, hosted in Warsaw in July 2012.

‘The Theatre was looking for a console for its Cameral Hall for performing arts and plays. After some deliberation, the sound department chose to go with the Midas Pro1.,’ says Sylwester Wojcieszek of Audio Plus. ‘They were impressed with the additional DL251, warm sounding effects, compressors and pre-amps. The Pro1 is simple to configure and operate, which makes it ideal for a theatre like the Stefan Jaracz Theatre. The sound quality is excellent and the system will be installed and optimised to work wirelessly with an iPAD. Another crucial factor was that the console features an automation system that supports 1000 scenes and that there’s no requirement to visit sub-pages during operation.’

‘The Pro1 opens new territory for Midas on a number of levels,’ says Midas Brand Development Manager, Richard Ferriday. ‘This is the first standalone Midas digital console, with comprehensive I/O on the back and a previously undreamt-of price point. This makes it accessible to freelance engineers, small music venues, indeed anyone who cares about audio quality, reliability and portability.

‘Audio Plus is no stranger to firsts,’ he addds. ‘The company has been extremely active in the implementation of Midas/Klark Teknik products in the Polish region for some years. Shortly after the Pro2 presentations in 2011 Audio Plus sold the worlds first Pro2C install package to the Regional House of Culture in Nowa Deba. This had a considerable influence on the market and further Pro2s and the larger Pro consoles have since been sold across Poland.’

See also:
Midas Pro1

More: www.midasconsoles.com
 

‘I’m not a huge sports fan myself but I love the feeling I get watching a game on my big screen at home with good surround sound,’ says Kip Kendrick. ‘I knew that if we wanted to bring the fans downtown, we had to offer that same sense of immersion in the game – only better. We aimed for the best sports bar in the world.’

Owners BoxThe setting is the Owner’s Box Sports Bar & Grill at the new Omni Dallas Hotel in in sports-centric Dallas. As the name implies, the concept here is to give fans a privileged seat and then pull them into the game – accomplished using 72 HDTV screens and surround sound systems using 40 Meyer Sound loudspeakers.

Walker Engineering provided design assistance and installation for the audio, video and lighting, with Kendrick, the company’s Business Development Manager for AVL, spearheading the design.

From the outset, Walker Engineering and its partners, general contractor Balfour Beatty Construction and developer Matthews Southwest, agreed that there would be no ‘value engineering’ that would compromise the experience. ‘We insisted on a stellar environment, and that meant top-line Panasonic video screens, Biamp audio processing and distribution, Crestron control and Meyer Sound loudspeakers,’ Kendrick says.

Meyer Sound systems are central to five premier viewing zones at The Owner’s Box, four of which use new low-voltage self-powered systems. The twin 7.1 bar systems each have a centre UP-4XP 48 V loudspeaker, six MM-4XP miniature loudspeakers and an MM-10 miniature subwoofer. The 7.2 system in the VIP suite uses the same components with an added MM-10, while the 5.1 system for the billiards room has two fewer of the MM-4XP loudspeakers.

‘When we looked at what we needed for both functional performance and interior design, Meyer’s low-voltage systems were a no-brainer,’ Kendrick explains. ‘The 48 V speaker line is absolutely brilliant for this kind of environment.’

MM-10 miniature subwooferFor the big games – Cowboys, Mavericks, Super Bowl – fans flock to the front of the 16-foot screen, where they are in the zone of the 7.2 system powered by seven UPA-1P loudspeakers and dual USW-1P subwoofers. ‘They brought in a DJ to use that system for New Year’s,’ Kendrick recalls. ‘During the afternoon tests they had it up well over 115dB with pure clarity. We had bellhops coming from the front desk 200 yards away to see what was going on.’

Working with Kendrick as project manager was Jerry Roskin, Walker Engineering’s Senior Project Manager for low-voltage and network systems. Creston programming was handled by PanTech Design of Grapevine. Architect for The Owner’s Box was BOKA Powell and interior designer was waldrop+nichols studio.

Although AVL for The Owner’s Box was covered under a separate contract, Walker Engineering also was contracted for all electrical, security, networking and A/V systems throughout the hotel. The 1,001-room property, officially named the Dallas Convention Center Hotel, is owned by the City of Dallas and operated by Omni Hotels.

More: www.meyersound.com
More: www.biamp.com

 

With a declared company ethos to ‘create iconic buildings with individual interiors invoking an inviting, exciting ambiance’, the prestigious Radisson Blu global hotel chain can be judged on the stunning new interior of the Radisson Blu Royal in Bergen, Norway.

Radisson Blu RoyalThe refurbishment, which included an expansion of the restaurant and conference facilities, saw modern materials and a glazed atrium requiring an equally modern and innovative loudspeaker solution.

The lack of a cavity ceiling space ruled out conventional in-ceiling loudspeakers in favour of self-contained ‘pendant’ devices that could be hung from the apex of the atrium – specifically, Tannoy’s OCV Series. Introduced in 2011, this line marked Tannoy’s first serious foray into pendant speakers, with the 6-inch OCV 6 and 8-inch OCV 8 models.

Installed by Bergen-based AVAB-CAC, the OCV install combines the acoustic performance and value of Tannoy’s CVS Series in-ceiling products in an architecturally sensitive, self-contained, lightweight cylindrical enclosure. They were engineered specifically for applications where predictable high-quality audio coverage is required in high or open-ceilinged spaces – such as the atrium of Radisson Blu Royal. With a number of OCV 8s on a distributed audio system alongside 50 of the CVS in-ceiling loudspeakers, the installation provides even distribution of sound and total coverage for the architecturally sensitive areas of the hotel, with the ambient background music playing directly from a central media server.

OCV pendant loudspeakers‘OCV was chosen because of the unique design that fits into the glass atrium, without compromising the integrity or visual aesthetic of the building,’ says Arthur Botnevik of AVAB CAC Bergen. ‘The OCVs are providing full-range sound quality for the restaurant area, and it was the ideal product for this kind of application.’

All loudspeakers in the system are powered by nine Lab.gruppen E Series, the Energy Star certified 1U-high power amplifier range developed for the installation market. The E Series brings Lab.gruppen performance to a market highly concerned with spiralling global energy prices and environmental pressures, combining high power output and low power consumption, greatly reducing the total cost of ownership.

See also:

More: www.tannoy.com/pro
More: www.lab.gruppen.com

 

In summer months, sun seekers and beach lovers swell the congregation at St Thomas the Apostle from 1,000 to more than 3,000 - well beyond the capacity of the New Jersey church sanctuary.

St Thomas the ApostleVP of Sales at ACIR Professional, Bobby Harper explains how the church came up with a creative solution: ‘It’s an older structure, and it has some history, and they didn’t want to just tear it down and build something bigger,’ he says. ‘So they opted to renovate the original building and also build an event centre, which could handle the overflow, as well as other functions.’

Connecting the church events centre to its sanctuary via audio and video was suggested early on, but a complex digital matrix with touchpanels was simply not feasible. ‘We wanted to create a solution for them that would meet their needs without getting into complex and expensive networking,’ Harper explains. In the end, a bit of creativity was all it took.

Using the seasonal population shifts to their advantage, the project was carried out in two phases: ‘The first summer, they used the (just-completed) events centre as just that – a multi-purpose events centre,’ Harper says. When autumn approached, the event centre was pressed into service as temporary sanctuary while the original 1920s-era building was then renovated, expanded, and tied in with the events centre via audio and video feeds.

Unsurprisingly, the sanctuary presented some challenging acoustics: ‘It is pretty reflective inside,’ says Harper. Replacing the carpet with granite and marble increased the reverberation, and the addition of naves to the left and right of the altar also impacted the room’s acoustics.

‘We decided to go with a distributed system,’ Harper continues. ‘We didn’t want to energise the space with a large system, and we wanted clarity and consistency in coverage.’

The room’s audio includes a pair of Community Veris 28 dual 8-inch systems left and right of the altar, with another three Veris 8 single 8-inch loudspeakers along each side. Yamaha 3500 and 5000 amplifiers power the system.

‘The church has a full praise band, with drummer, bass, keyboard, organ, a couple of violins and flute, and musicality was an important consideration,’ Harper says. ‘We had been looking into the Veris systems, and it seemed like a perfect fit.’

St Thomas the ApostleSystem drive and processing is covered by Community’s dSPEC networked loudspeaker processor. ‘The dSPEC is a great piece of gear,’ Harper enthuses. ‘We’re hardly pushing the amps - that’s the beauty of it. We use the dSPEC to calibrate the limiters on the amps for maximum efficiency with the loudspeakers. And it’s very user friendly. I plugged it in, had no training on it, and had it sorted out in less than an hour.’

The spaces to the left and right of the altar have been converted into naves, each of which is served by a pair of MX10 compact monitors as wedges. ‘We custom-painted them to match the wall, and mounted them where the wall meets ceiling,’ says Harper. ‘They look fantastic and they sound great.’

A Yamaha MG16 console is installed at the sanctuary’s mix position, with a Yamaha MG24 for the choir monitors. Sennheiser mics and wireless systems cover the choir loft, altar and musicians. A Sony PTZ70 camera captures the service and sends the signal via Ethernet to the event centre.

Over in the event centre is another Yamaha MG16 console. Connected pairs between each of the three consoles enables each to receive aux send audio feeds from the others. As Harper observes: ‘the system is not quite foolproof, but fortunately the church’s technical personnel are savvy enough not to route things into a feedback loop.’ A smaller 5.1 consumer system covers most of the room’s audio needs, and an Eiki LCWB42NA projector gets the Sony PTZ’s video feed to a ceiling-mounted DaLite screen.

The event centre was conceived from the outset as a multi-use venue, with flexibility a key requirement: ‘We installed audio I/O panels throughout the room, and they can easily configure the system for whatever event they’re holding. They can take the audio and video feed from the sanctuary, or they can host a power point demonstration, or watch a movie, or Monday night football,’ he says. ‘It also made it easy to configure a portable church while the main sanctuary was under construction.’

While A/V interconnectivity is more often the province of contemporary churches, Harper says the implementation of it in this older, more traditional setting was worth it. ‘There were certainly some challenges in terms of running cable and working out logistics, but the end result is exactly what we wanted.’

More: www.communitypro.com

 

Formerly the Energy Australia Stadium, Ausgrid Stadium has completed the redevelopment of its Western Grandstand with a new audio system, designed and implemented by The PA People.

Ausgrid StadiumThe new system uses JBL’s Application Engineered (AE) loudspeakers as well as JBL Control 29AV-1 and Control 25AV loudspeakers. All speakers are driven by Crown CTS amplifiers fitted with the latest Crown IQ PIPUSP4/CN DSP card. Overlay processing and control is via BSS London Blu systems.

The loudspeakers for the stand includes weatherised treatment (WRX) for the AE models, which are arranged as six clusters of spaced elements mounted close to the leading edge of the roof, and fill speakers to cover areas shadowed from the main clusters. Each of the six clusters uses a JBL AM5212 and AM4315 loudspeaker to cover the grandstand upper seating and one JBL AM4315 loudspeaker to cover the grandstand lower seating.

Both loudspeaker models feature rotatable horns that allowed them to be installed horizontally. Careful selection of the horn coverage pattern and orientation allows the grandstand upper seating to be serviced by a single enclosure while maintaining SPL variation of within the target ±3dB. Servicing the grandstand upper seating with a single enclosure has the advantage of virtually eliminating interference effects such as comb filtering which occurs when arraying loudspeakers to cover a common zone.

The JBL AM4315 is operated as a passive three-way and is driven from a dedicated channel of Crown CTS2000 amplification which also provides more than 6dB of headroom. The multi-band Progressive Transition mid-high frequency waveguide provides increased sensitivity in the critical midrange vocal region between 500Hz and 2.8kHz. The JBL AM4315 also has extended bandwidth and a well-controlled coverage pattern.

Open arena viewing areas are covered by using the long-throw JBL PD5212/95-WRX weatherized loudspeaker. JBL Precision Directivity (PD) loudspeakers are well regarded by professional sound operators for their excellent pattern control down to 250Hz.

A total of 72 JBL Control 25AV speakers and 24 JBL Control 29AV-1 speakers are used for coverage to the grandstand infill areas.

More: www.jblpro.com
More: www.crownaudio.com

 

Old Billingsgate is London’s largest and latest ‘blank canvas’ venue, with the capacity to stage major events, from film premiere parties, private dinners, concerts and fashion shows to conferences and exhibitions.

Old BillingsgateOffering three spaces, the largest is the 28,000-sq-ft hall, with triple height ceiling that can host sit-down dinners and conferences for upward of 1,000 people.

LCI was invited to tender for the technical design, installation and commissioning of a comprehensive house production system (sound, lighting and video) to accommodate any incoming production companies, along with smaller event clients without a regular production partner. Speed of rigging/derigging was an essential consideration, as was a small footprint – enter Martin Audio’s W8LM Mini Line Array and MA series amplification.

Project Manager (and system co-designer) Carl Miller explains that in addition to the system’s footprint, the W8LM was chosen for its high impedance – allowing multiple cabinets to be flown together. He also notes that the MA amplifiers each have a comprehensive DSP built in which negates the need for an additional external audio processor.

The brief for the multimedia integration was ease of patching into the main system should an incoming company wish to add further components, thus spare capacity was built into the control signal infrastructure. In addition, all systems specified needed to be future proof, reduce load-in times and prove themselves able to withstand the rigours of constant assembly and dismantling. Once again, the Martin Audio system met this criteria.

LCI specified two left/right hangs of Martin Audio line array, each comprising five W8LM elements and a W8LMD downfill unit per side – supplied by dealer, Capital Sound. The optional lifting bar and flying grid have been provided to give increased dispersion and coverage flexibility, since the line arrays are rigged on a per event basis to the specification of the incoming sound designer.

Old BillingsgateThe low end of the system uses a pair of Martin Audio WLX subwoofers. The system is powered by four MA5.2K DSP amplifiers and an MA12K DSP amplifier for the subwoofers – the W8LM and W8LMD cabinets are bi-amped.

The Martin Audio line array forms the core of a complete audio system that includes infills for the upper and lower mezzanine and delay speakers, where required, and audio tie lines have been installed between various positions around the venue and patch through the system control room to any of the audio outlets around the venue.

The line array connection points have been installed in the two most commonly used orientations – high level on the first truss and high level above the north wall to allow the system to be operated in either orientation without cable flying above the audience.

All venue design and consultation was carried out by LCI Project Managers Carl Miller and Luke Bennett. Project Engineers were Huw Micklewright and Duncan Wood.

More: www.lci-uk.com
More: www.martin-audio.com

 
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