Each TRAP40/7K is loaded with a 1-inch (high frequency) compression driver and dual 6.5-inch (mid frequency) cone drivers sharing the same waveguide, as well as a 15-inch (low frequency) woofer in a vented chamber. They incorporate proprietary CoEntrant Waveguide Technology that helps establish true point-source characteristics along with better signal alignment and tightly controlled dispersion – in both planes – down to 500Hz. TRAP (True Array Principle), another proprietary Renkus-Heinz technology, helps place the acoustic centers of each loudspeaker in near-perfect alignment when utilized in arrays.

The array at Roseville Covenant Church is comprised of four TRAP40/7K loudspeakers forming a single-level, horizontally oriented array, with the slightly gapped cabinets arching above the very front of the platform. Each TRAP40/7K is assigned to cover the respective seating area in front of it, with any transitioning between the cabinets kept strictly in the aisles.

“The ability to position the cabinets to generate a seamless wavefront, with no detectable comb filtering, puts them in a rare company in terms of convenience in addition to the sonic advantages. You pretty much decide where the array is supposed to go, determine the appropriate down-firing angle, and fly it into position,” Johnson says. “And the overall frequency response is quite smooth ‘out of the box’, which eliminates the need for elaborate processing and therefore, helps guarantee more consistency.”

A single R-H two-way loudspeaker mounted on the backside of the array provides stage monitoring that doesn’t clutter the platform.

A single Renkus-Heinz TRC81-12 two-way loudspeaker offering 120-degrees mid/high coverage is positioned on the back side of the array, firing downward. It serves as an effective choir monitor that’s virtually invisible from the seating area while also helping to keep the platform clear of obstruction. The array and its supporting hardware are painted white to match the room’s aesthetics. The sound team worked with a local metal shop in the design and fabrication of a custom flybar to safely fly the loudspeakers.

(RH has since collaborated with ATM flyware to offer the same type of flying package.)

“The look is very subtle and blends in well. You hardly even notice the array unless you’re specifically looking for it,” Bartelt offers. “At the same time, it’s a lot of weight so we were especially careful in selecting a properly supported flypoint at the roof, and also designed the flying hardware to go well beyond the normal ratios.”

Crest amps and Peavey processing reside in a rack behind the front platform.

Processing of the array is achieved with a Peavey Architectural Acoustics CX-5 digital processor that’s stored with the system’s Crest CA Series power amplifiers in a secured rack behind the platform. A 2-in, 4-out unit, the CX-5 is a good solution for projects of this scope, Johnson notes, providing plenty of parameters that can be established and stored, with password protection insuring that they can’t be accessed by unqualified personnel. The outer two loudspeakers of the array received added attention during the system tuning process. Specifically, they were carefully time aligned to help “steer” any low-frequency build-up from splaying down on the platform. Minor level reduction was applied to these two loudspeakers as well.