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.
Wellington, New Zealand (May 10, 2021)—New Zealand has one of the lowest incidences of COVID-19 in the world, with only 2,644 cases to date. As a result, large-scale events have resumed in the island nation, including the recent annual Passionate Women’s Conference—the country’s largest event for Christian women. Australian sound engineer Rich Bryant usually travels to Wellington to mix the event broadcast, but due to travel restrictions, he wound up mixing a broadcast feed from his studio in Sydney just over 1,400 miles away.
The event, held in the Michael Fowler Centre in Wellington, included music, worship and spoken word presentations, so Bryant had his hands full. Conferring with Andrew Crawford at Australian A&H distributor TAG about how to approach a remote mix, he opted to work with Wellington-based Lampros Sound, which provided an Allen & Heath dLive DM64 MixRack at the venue that Bryant could control remotely from his Sydney studio. The DM64 was fitted with a Dante card for interfacing with the onsite AV network, plus a Waves card for virtual soundcheck and additional output processing.
The DM64 was connected to a dLive S7000 control surface in Sydney via a secure VPN connection, managed by Riverbed’s SD-WAN service, using the integrated network ports on both units. Luke Sheaves of Riverbed was on hand to provide IT and network support in Sydney, with Alistair Lambie of Lampros Sound monitoring the connection on the New Zealand end.
Australian sound engineer Rich Bryant used an Allen & Heath dLive S7000 in his Sydney studio (seen here) to mix the event 1,400 miles away.
Audio and video monitoring of the broadcast feed in Sydney was provided via an SRT stream to Bryant’s iPad, arriving with under 150 ms of latency. Another tool put to use was Audiomovers software, fed by the Waves card in the DM64, which was used to monitor the Solo/PAFL bus with a latency of 200ms. The Intercom Unity app, running on a second iPad, was used to handle comms between Bryant and the technical team in the venue.
Back onsite in Wellington, another DM64 – configured for multi-surface operation – was used to handle both FOH and MON duties, with a pair of S7000 control surfaces deployed for engineers Andrew Forde (MON) and Simon Faisandier (FOH). Two DX168 expanders were added to feed performer IEMs and provide additional AV I/O, with Waves and Dante cards utilized for audio transport and additional processing.
“What started as an ambitious endeavor ended as a resounding success” reflects Rich. “It was a truly ground-breaking weekend, and we couldn’t have done it without the dLive, and the support provided by TAG, Lampros Sound and Riverbed.”
Living Word Christian Center now has a new DiGiCo Quantum338 console.
Brooklyn Park, MN (May 10, 2021) — Living Word Christian Center (LWCC) in Brooklyn Park, MN recently updated the audio system in its 3,000-seat, fan-shaped sanctuary on 75th Avenue with a new DiGiCo Quantum338 mixing console paired with an SD-Rack equipped with 32-bit ADC/DAC cards and ST Optics.
Locally-based integrator Audio Logic Systems supplied and installed the new gear, and also simultaneously upgraded the church’s existing DiGiCo SD8-24 monitor console’s SD-Rack with ST fiber-optic connectors, putting both consoles and SD-Racks on an Optocore loop. With plans to expand their musical offerings in the future, the ability to accommodate an increasing channel count was a key factor behind the upgrades, according to LWCC lead audio engineer Scott Fahy.
Fahy shares mixing time on the new Q338 with another individual who is no stranger to the DiGiCo platform—Robert “Cubby” Colby, a locally-based FOH audio engineer who has worked with Prince, Britney Spears, Phil Collins/Genesis, Shakira, Juanes and many other top names in popular music. He has been volunteering to help mix at LWCC for three years now, on and off, as his touring schedule has permitted. As a longtime user of DiGiCo consoles—particularly the large-format SD7 and SD5—Colby said he enjoyed the new Quantum console.
“I was immediately taken by the three 17-inch screens and meterbridge hood—it’s a beautiful-looking and beautiful-sounding console,” Colby said. “Having 38 faders on the top layer gives you a great handle knowing you will be able to arrange your ‘go-to’ inputs, returns, control groups and subgroups in any fashion. It’s amazing what two more faders on that layer can do for you! As to what you’re used to seeing on the SD-Range, the layout is very similar and familiar. The faders and knobs are different but still perfectly accurate. DiGiCo has also added 32-bit converters to local mic/line and the eight local line outputs, which is sweet.”
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.
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.
“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.”
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.”
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.”
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.”
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.
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.
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.
“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.”
