Chicago, IL (March 1, 2023)—Shure has been a significant participant within the wi-fi microphone marketplace for a long time, and the GLX-D+ Dual Band sequence introduced immediately follows in that custom—however with a twist: The sequence’ receivers embrace the everyday rack-mount and tabletop fashions, but additionally embrace Shure’s first guitar pedal receiver.
Aimed at guitarists and bassists who need to go wi-fi, the GLXD6+ Digital Wireless Guitar Pedal integrates proper right into a pedalboard and may be powered from typical 9V DC cords. The pedal receiver has a tuner built-in, and sports activities a ¼” enter in order that customers can nonetheless plug in after they need to. For gamers who alternate between a number of guitars throughout a present, the receiver can hyperlink to 2 or extra transmitters, dashing up on-stage transitions between devices.
As may be anticipated from a sequence that features a guitar pedal receiver, the GLX-D+ Dual Band sequence is basically aimed toward musicians, homes of worship and others who want wi-fi mics however don’t have the time, aptitude, want or finances for in-depth choices like Shure’s flagship Axient Digital sequence.
Nonetheless, there’s different causes to look into the brand new line. The GLX-D+ dual-band wi-fi expertise updates the sequence’ earlier era by doubling obtainable bandwidth, working each in 2.4GHz and 5.8GHz. The receivers robotically scan for and choose the cleanest obtainable frequencies, serving to customers keep away from interference and dropouts.
Also up to date from earlier fashions, the GLX-D+ Dual Band’s rechargeable battery provides as much as 12 hours of runtime, with a fast cost functionality offering 1.5 hours of use from a 15-minute cost if want be. The lithium-Ion SB904 battery may be charged straight on the tabletop and half-rack receivers or via a USB-C connector on the transmitter.
GLX-D+ methods can be found with three handheld wi-fi microphone choices, together with SM58, BETA 58A, and BETA 87A. GLX-D+ Dual Band Wireless offers RF efficiency, antenna distribution, and automated frequency administration for as much as 11 half-rack methods in typical environments (16 underneath optimum circumstances). Separately obtainable Frequency Manager (GLXD+FM) and directional antenna equipment are required.
The GLX-D+ Dual Band Wireless Systems will probably be obtainable later this month on the firm’s web site and at choose retailers, beginning at US $499.
Munich’s ICF Church sets up and tears down its audio gear every week, including an Allen & Heath dLive system.
Munich, Germany (June 14, 2021)—With the amount of cutting-edge AV technology being used in modern houses of worship, sometimes it’s almost like going to church in a nightclub. For International Christian Fellowship parishioners in Munich, however, that’s exactly where they go to worship, as their Sunday services are held at Neuraum, a 2,400-capacity nightclub. That, in turn means that the church’s production team loads-in and tears down its system every week, including an Allen & Heath dLive system in use since the beginning of 2019.
Marc Deisen, ICF Munich’s head of audio, noted, “Since we set up and tear down every Sunday, we needed a lightweight and flexible system; we also wanted a straightforward and intuitive control surface.” As a result, the team employs a dLive S5000 Surface and a DM48 MixRack, chosen for their analog-like signal flow. Additional onstage I/O is provided by a pair of daisy-chained DX168s, and a 128-channel Dante card provides digital I/O for wireless microphones, virtual soundchecks and general audio distribution throughout the venue.
The ICF Munich setup is often moved to larger venues for the major Christian holidays of Christmas and Easter. For last year’s Christmas Celebrations, they moved to the Munich Showpalast. Due to the distance between the stage and the mixing position, two fibreACE cards were deployed to provide a secure fiber optic connection between the DM48 and the S5000 at FOH. “The fibreACE expansion cards were plug and play, and in general the dLive system has always performed solidly,” reports Deisen.
Going by the recommendation of the Munich team, another International Christian Fellowship branch—ICF Herrenberg—opted for a similar setup in 2020, partnering an Allen & Heath dLive C3500 Surface at FOH with a CDM48 MixRack onstage. “As a test setup, we had been given an Allen & Heath Avantis in addition to the dLive, but we needed 10 stereo in-ear mixes for the band, various subgroups and three more aux paths for the stream, as well as a matrix. The Avantis is a great console, but due to the amount of output paths, we finally decided on the dLive,” explains head of audio Phillipp Reineboth.
As in Munich, the services at ICF Herrenberg are supervised by volunteers from the congregation, most of whom do not have a professional technical background. “I wanted to provide our audio team with a well-configured setup that can also be operated by lay people,” Reineboth said. Accordingly, ICF Herrenberg chose a dLive C3500 system based on positive feedback from ICF Munich.
Bellevue Baptist Church’s 6,800-seat main sanctuary is now home to three DiGiCo Quantum7 mixing consoles and an extensive d&b audiotechnik line array system. Starboard & Port Creative
Los Angeles, CA (May 7, 2021)—Houses of Worship have always been a big part of the installation market, but they aren’t always the first projects that come to mind when the words “cutting edge” come up. That’s changing, however, as they are increasingly becoming some of the most forward-thinking adopters of new technologies. There’s several recent house of worship installations nationwide that highlight some of the latest products and technologies in wired and wireless audio networking and distribution.
Take, for example, a recent major renovation at Bellevue Baptist Church in Memphis, TN, which leveraged a campus-wide fiberoptic system to interconnect four DiGiCo mixing consoles and nine SD-Racks handling FOH, monitors and broadcast. According to Mark Coble, audio/acoustics design and commissioning lead for integrator Paragon 360, a BroaMan Optocore AutoRouter installed in the machine room is critical to uninterrupted connectivity.
A standard Optocore transport system operates as a loop that will run in the opposite direction if a connection is disrupted. But because the audio setup in the church’s Fellowship Hall is designed for frequent reconfiguration, says Coble, it was essential to guard against interruptions, not least because the broadcast console needs to ‘see’ every network input at all times.
“Our fear was that on Sunday morning, you’ve got 7,000 people in the Worship Center and someone goes into the Fellowship Hall to start prepping for an event. If they unplug a console or a stage rack, they could bring down the entire network,” he says.
But the AutoRouter is self-healing: “As soon as something is disconnected, it heals the loop instantaneously.” At Bellevue, there are two Optocore loops, he adds, since the total number of inputs exceeds the capacity of a single loop.
The Optocore AutoRouter is intended for audio systems and also offers Yamaha and Avid network card options. BroaMan’s version, Route66, also supports video routing and software-based fiber stream routing for broadcast and AV applications.
Summit Integrated Systems project manager Andrew Starke (right, black shirt and glasses) walks the Seven Rivers Church worship and tech teams through using KLANG:app on their iPads.
In addition to enabling houses of worship to make any audio source available anywhere across a facility, networking can also provide connectivity with satellite campuses. Watermark Community Church in Dallas, TX, shares services from its 4,000-seat auditorium with four other campuses, where the teachings are integrated into the respective live worship services at the remote facilities and are also streamed online.
“Rather than using mic splitters and a patchbay, we installed 112 SSL mic pres, so that it could all be soft-patched via Dante,” says Travis Brockway, founder of integrator Nexos, which also installed three FOH, monitor and broadcast SSL Live consoles at the church.
“When this system came online, we also implemented a new Dante network across the Dallas campus. It was a big switch—we replaced all the previous DSP and its Dante functionality throughout the whole facility. Everywhere there’s an audio console, it plugs in via Dante, so the Children’s Ministry’s consoles and everywhere there’s a sound system is all Dante capable,” he says.
“The main service also gets distributed around to what they call the Town Center—the coffee shop and gathering space in the middle—and a couple of overflow rooms” from the FOH console, he says. “There’s also the Chapel and the Loft, and all the children’s spaces; they’re all capable of getting an input from the main auditorium—and vice versa.” Office towers next door to the main Dallas worship center host Watermark’s mid-week and children’s and student services.
At Calvary Church in Santa Ana, CA, technical director Ryan Roehl installed five Allen & Heath DX164-W wall-mount DX expanders in ACE Backstage stage pockets.
It’s not unusual for facilities to integrate both a Dante network and another audio network—for instance, one associated with a specific mixing console brand—and bridge them via one device or another. According to research from RH Consulting, there are now just over 3,000 Dante-enabled devices available from 361 different manufacturers.
At Bellevue Baptist, says Coble, the Shure Axient wireless microphone system feeds the Optocore-networked consoles over Dante via a DiGiCo Orange Box. “There’s a very large Dante backbone to this system that runs over a traditional network,” he reports, adding, “We don’t allow that to jump onto other networks at the church.”
Onstage, 12 channels of playback from a Mac are fed over a Cat 5 cable to a convenient floor pocket. In an analog setup, he notes, that would have required 12 DI boxes and a bunch of cables. “Let’s say the keyboardist driving these channels moves to the other side of the stage next week. No big deal; it’s one patch away to the nearest floor pocket,” he says.
“It’s a game changer for thinking about how to transport audio. Network-based audio allows creativity and flexibility that would normally be really cumbersome in the old-fashioned analog infrastructure. It’s the anything, anytime, anywhere approach.”
Indeed, the flexibility inherent in audio networking is high on the list of priorities for Coble’s clients, he reports. “They’ll say, ‘One of our priorities is cable management. We want flexibility. We want to change our stage around without having to call guys in for two days to rewire everything.’ Networked audio becomes the solution for that.”
That kind of flexibility is on display at Calvary Church in Santa Ana, CA, where technical director Ryan Roehl installed five Allen & Heath DX164-W wall-mount DX expanders in ACE Backstage stage pockets. The church has an A&H dLive control surface at FOH with a DM32 MixRack in an equipment room below the stage. DX units connect via a single Cat 5e cable to a dLive surface.
“We were already familiar with what Allen & Heath calls their ‘Everything I/O’ collection of audio expanders, as we had a roving DX168 on stage for drum inputs and another rack-mounted at the booth for last minute I/O needs that pop up from time to time,” says Roehl. “Each pocket on stage fits the DX164-W, six power outlets and eight positions for Neutrik D Series connectors, of which we have one for the DX loop out, two for Dante connections and two for 3-pin and 5-pin DMX [Digital Multiplex].”
Cathi Strader, president, ACE Backstage, comments, “Our 174SLBK stage pocket system pairs up nicely with the DX164-W and a duo of 3-gang plates for onstage access to both digital I/O and additional customized connectivity,” combining DMX, Dante, power and AoIP in a tidy stage floor package.
Paragon 360’s Mark Coble at the DiGiCo Quantum7 in Bellevue Baptist’s broadcast control room. Starboard & Port Creative
It’s a simple enough matter with an audio network to quickly throw down a length of Cat 5 and add an I/O device in order to extend the reach of a system to, for example, hold an event in an outdoor area at a church. Networking also enables the expansion of the audio console setup to include options such as personal monitor mixing stations for the musicians.
Aviom, Hear Technologies, myMix and other Dante-networked personal mix systems have been around for a number of years, but more recently DiGiCo’s KLANG:technologies brand products have also been finding traction with houses of worship. The KLANG system offers musicians individual control of their monitor mixes using an iPad. Users can control not just levels but also immersive panning, allowing them to replicate the relative positions on the stage of their bandmates in their IEMs.
Florida’s 1,500-capacity Mosaic Church, in Winter Garden, recently expanded its KLANG system with a second KLANG:fabrik unit to provide the 12 musicians and vocalists with individual mixes from over two-dozen inputs. The church’s SSL Live FOH console feeds the personal monitor system over Dante, which is native to the KLANG units.
“That kind of digital integration with the console is also great from both an installation and operational point of view,” says Gil Parente, CEO of integrator AVnew. Parente says he has also integrated the same device into other area churches, including Orlando’s Whole Life Church.
The KLANG rig at Seven Rivers Church, also in Florida, is a little more complex, processing 64 inputs fed via an Orange Box to 16 immersive mixes. The analog stage outputs are routed to the rack of the A&H dLive console rack and then over a Dante network, via a DiGiCo DMI-DANTE 64@96 card in the Orange Box, to the console. Signals are sent from the console’s direct outs to the Orange Box, which is also fitted with a DMI-KLANG interface, then back to the console and into the musicians’ in-ear monitors.
Add a local area network to the installation and the capabilities of an audio system can expand far beyond the scope of this article. One relevant product, though, is the SSL TaCo (Tablet Control) mix app, which provides wireless tablet control of SSL Live consoles from iPad and Android devices. Musicians can download the app and control their individual mixes out of the Live series monitor console on their personal devices over the LAN. Alternatively, the mix engineer can use TaCo to control the entire console from a single remote device.
Perhaps more prosaically, Listen Technologies offers a product for assistive listening applications—beneficial to any church with an aging congregation or worshippers suffering hearing loss—that also leverages a facility’s LAN. The product, Listen Everywhere, enables congregants to listen to whatever audio the church chooses to broadcast, using a free app on their iOS and Android devices. While the service is an obvious choice for the audio source, one church in Utah reportedly used Listen Everywhere to enable members to participate in socially distanced bingo in the parking lot during the coronavirus pandemic.
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.”
“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.”
For the pro-audio world, March marks the one-year anniversary of everything getting turned upside down by COVID-19. Since then, we’ve all been on a rollercoaster of times alternately hard and hopeful, but things are tentatively starting to look up. With the U.S. now vaccinating more than 1.5 million people a day and Dr. Fauci predicting all Americans could be eligible for vaccination as soon as April, “normal” isn’t around the corner, but it is finally on the horizon.
That means it’s time to roll up our sleeves—not only to get a shot, but to start preparing. “Normal” doesn’t happen with the flick of a switch; you won’t wake up one day and start mixing for a packed house again or find your studio booked solid just because the pandemic has subsided. It could happen—but only if we work for it, laying out the foundations for that kind of success, brick by brick, in the months leading up to it.
A big part of getting ready will figuring out how to incorporate all the radical pro-audio changes and advances we made over the last year. Frankly, that topic is so big that you can’t get all the insight you need from just Pro Sound News—which is why PSN has joined forces with Mix and Radio Worldto create the Pro Audio & Radio Tech Summit, an online expo taking place on Thursday, April 1 (no, this is not an April Fool’s joke).
The free one-day event will feature an exhibition floor, panel presentations, chat rooms and a host of media presentations showcasing the latest technologies and trends in pro audio and radio. Pro Audio & Radio Tech Summit will feature two individual program tracks within a single exhibition hall—in each program track, industry experts will explore how manufacturers and users are making use of both current and emerging technologies in order to keep the media coming.
The Pro Audio Track will feature sessions on remote production, the multipurpose House of Worship studio, the rise of immersive music, audio networking technologies, podcasting and Improved Audio for Education. Through expert panel presentations, sponsor demos and attendee networking, Pro Sound News and Mix will bring manufacturers, engineers, producers, musicians, educators and industry experts together to look at the state of music production as we come out of the most disruptive year in memory.
The Radio Track will feature sessions on hybrid radio, AoIP, virtualization, streaming, business continuity and trends in transmission. These topics will be of interest to any radio broadcast manager or engineer who manages technology or uses it to advance their careers and business missions.
One of the best things about a virtual event is that the doors don’t close at the end of the day; all of the content—and exhibit booths—will be accessible on-demand to attendees for a month after the event, so if you can’t make April 1 (or more likely, if there’s just too much good stuff to absorb in one sitting), you dig into the offerings at times that work best for you. Head over to www.proaudioradiotechsummit.com to sign up for free, and I hope you’ll join me and the rest of the team from Mix and Radio Worldon April 1.
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.
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.
New York, NY (February 3, 2021)—This spring may not have all the usual trade shows and conferences in-person, but professionals across the pro audio and radio industries will gather together in April, as Pro Sound News, Mix and Radio World join forces to hold the first Pro Audio & Radio Tech Summit, an all-day virtual event to be held April 1.
“With the ‘return to normal’ now on the horizon, we have to start exploring how the massive changes we’ve made in pro audio over the last year will be incorporated into our ‘normal’ work going forward,” said Clive Young, editor of Pro Sound News. “The pandemic upended every aspect of how audio professionals work, but the industry rose to the challenge, changing established ways to fit the times while also creating new methods, workflows and tools to keep things moving forward. Our Summit, then, will draw insights from those trends and achievements, and look at how they can become crucial ingredients for continued success in the future.”
The free one-day event will feature an exhibition floor, panel presentations, chat rooms and a host of media presentations showcasing the latest technologies and trends in radio and pro audio. Pro Audio & Radio Tech Summit will feature two individual program tracks within a single exhibition hall. In each program track, industry experts will explore how manufacturers and users are making use of both current and emerging technologies in order to keep the media coming.
The Pro Audio Track will feature sessions on Remote Production, the multipurpose House of Worship studio, the rise of Immersive Music, Audio Networking technologies, and Improved Audio for Education. Through expert panel presentations, sponsor demos and attendee networking, Pro Sound News and Mix bring manufacturers, engineers, producers, musicians, educators and industry experts together to look at the state of music production as we come out of the most disruptive year in memory.
The Radio Track will feature sessions on hybrid radio, AoIP, virtualization, streaming, business continuity and trends in transmission. These topics will be of interest to any radio broadcast manager or engineer who manages technology or uses it to advance their careers and business missions.
Heritage Apostolic Church built a new sanctuary, covered by a sizable Fulcrum Acoustic line array system.
Holly Springs, MS (November 30, 2020) — Heritage Apostolic Church in Holly Springs, MS recently built a new a new sanctuary for its growing congregation, opting for an open two-story space with tiered seating along the stairways on either side. Covering then entire space is a new Fulcrum Acoustic line array as part of a larger system designed and installed by Simon Productions
The acoustically complex room features stairways that lead to a small balcony wrapping around the back of the room with two rows of seating. That’s not to say that concerns about acoustics were thrown to the wind; when designing the church, room geometries were developed to reduce standing waves, and padded chairs and carpeting were chosen to help reduce reverberation.
Nonetheless, there were multiple levels of seating and a large, open space that would require strict pattern control to concentrate sound on the congregation. Also, the location and shallow depth of the altar required broad band directional control to keep sound energy off the altar.
Terry Stewart from Simon Productions flew 16 Fulcrum Acoustic FL283T Dual 8″ subcardioid line array modules in two separate arrays of eight on either side of the altar as the main loudspeakers. The FL283T provides the throw and tight vertical dispersion needed to distribute uniform coverage to the floor, stairway, and balcony seats without energizing the full vertical expanse of the space. Meanwhile, FW15 coaxial cardioid stage monitors were selected for use on the altar.
Stewart installed four of Fulcrum’s US221-2 Dual 21″ direct radiating subwoofers directly into the front of the altar in their own insulated wall niches; two of the US221-2s were coupled in the center of the room while the other two were deployed on either side.
Also part of the house system is an Allen & Heath Avantis console, and the various loudspeaker systems are powered by Linea Research amplifiers.
“We are absolutely thrilled with the sound of this Fulcrum system” said Pastor Kyle Flowers. “We had lots of guests from different churches that came to be with us for our first service and everyone was remarking on the clarity and high quality.”
Mathew George, founder and owner of systems integrator AVkraft, designed a new QSC-based audio system for Sacred Heart Forane Church.
Kerala, India (October 5, 2020)—For more than 75 years, Sacred Heart Forane Church has brought its Syro-Malabar Catholic message to the people of Thiruvambady, Kozhikode District, Kerala, India. Today serving 1,500 families and roughly 5,000 parishoners, the house of worship has updated its sound with the aid of Mathew George, founder and owner of systems integrator AVkraft, who designed a new QSC-based audio system.
George designed and implemented a new system comprised of K12.2 active loudspeakers as well as CP8 and CP12 compact active loudspeakers. “Our original sound system was an aging speaker system that was no longer achieving desired sound quality,” notes Father Jose Oliakattil. “We have online masses every day, and there were a lot of problems. I invited Mathew to come and listen to the issues.”
In opting for the K12.2 loudspeakers, George noted, “I used the EASE acoustic simulation and analysis software and focused on the pews. I could clearly tell that we’d get the best sound for the parishioners by simply placing two K12.2s on the front two pillars focusing upon the center area.”
Sacred Heart Forane Church.
Given Sacred Heart’s many nooks and crannies, Mathew then brought in the CP series to serve as fills and monitors. “I used a total of six CP12 along the left and right of the side walls,” he said. “Again, I used the EASE software to position them optimally, and they are working great. For monitors for the keyboardist and choir, I used CP8s in an inverted position. Throughout, there is no feedback or howling and everything is equally audible everywhere in the room. The keyboard and choir now sound very clear.”
Since 2015, AVkraft has been doing sound, systems integration, A/V installations and lighting consulting, with George personally doing all the design work. AVkraft is currently working on a large mosque project which could accommodate 20,000 people and a large indoor stadium which also seats up to 20,000 people.
Nevada’s Mosaic Church fills its 1,100-capacity worship facility with high-energy live music via its new d&b audiotechnik A-Series system.
Henderson, NV (September 30, 2020)—Nevada’s Mosaic Church fills its 1,100-capacity worship facility with high-energy live music, video and theatrical lighting elements and more. The site already had acoustical treatments but wanted to update its audio system, turning to CCS Presentation Systems of Las Vegas. The result was a new d&b audiotechnik A-Series system that brings the church’s message to its parishoners.
“One of the main project objectives was to provide an enhanced guest experience, said Gilbert Medina, director of Business Development at CCS. “The A-Series fit our performance and budget requirements, and the church was aware of the d&b brand so when I made the A-Series recommendation and that it could meet their budget needs, they approved our design.”
The system, commissioned by d&b support specialist Mark Rush, includes a half-dozen AL90 loudspeakers (3 per side, Stereo), four center ceiling mounted Yi-SUBS (Stereo summed), and a pair of 30D amplifiers.
“The d&b A-Series is the perfect fit for our venue,” said John Solomon, worship pastor. “The compact footprint and wide coverage provide an impactful and immersive experience for us. The directionality is especially impressive as we have high gain before feedback with omni-directional headset condensers very close to directly underneath the arrays. The flown subs provide surprising evenness throughout the room and provide full low end without being too physically impactful up close. Transparent warm and clear are words we’ve used to describe the sound and we are eager to further expand our system as we grow.”
New York, NY (February 3, 2021)—This spring may not have all the usual trade shows and conferences in-person, but professionals across the pro audio and radio industries will gather together in April, as Pro Sound News, Mix and Radio World join forces to hold the first 
