Each array is also outfitted with two compact R-H loudspeakers for downfill mid-high coverage purposes to the very front of the audience area. Mounted to each side of the array and angled downward, these custom models include the mid-high section (only) of the R-H SR6 full-range loudspeaker, reducing their size and eliminating additional low-frequency components that aren’t necessary for this system.

Six loudspeakers, each receiving its own specialized delay feed, provide added reinforcement to the rear third of the room, mounted at ceiling level above the acoustical panels and angled downward. R-H TRC121 compact two-way loudspeakers were selected for this application, incorporating many of the bedrock technologies found in the other R-H models utilized in the project.

“These six loudspeakers are spaced equidistant and are assigned individual coverage zones,” Breshears adds. “They receive cross-matrixed delay feeds from the three main channels, which are connected to a multi-tap delay device in the signal processing. Discrete delay outputs are fed into a mixer and summed along with the remaining two channels of delayed signals, and then routed to the amplifier for each delay speaker.”

All loudspeakers are black. Given the aesthetic of the space, this color choice proved best, with the array structures subtly disappearing into the acoustical clouds.

Crucial Power & DSP

Crest PA Series power amplifiers drive all loudspeakers, rack-mounted in a secured equipment room behind the platform. The power configuration is set to achieve the appropriate balance within the cross-matrixed LCR system, and it works in tandem with digital signal processing in this regard.

“The power issue is all tied into the design technique; it’s a function of the loudspeaker layout, coverage of each loudspeaker and also what type of processing will be needed given these criteria,” he notes.

As mentioned, the advent of advanced DSP has been key in maximizing the effectiveness of this type of design. What used to take racks and racks of individual analog processors, all wired together and highly impractical in terms of cost, space and functionality, is now done with networked solutions addressing all of these previous limitations.

Five BSS Soundweb units supply processing and routing, church-wide, working not only with the house system but also distributing audio to other areas, such as a system covering the lobby. Networked so that they operate as virtually a single unit, the Soundwebs supply parametric equalization, crossover and an impressive amount of delay crucial to the success of the design, in addition to channel routing and matrixing.

Given the extremely crucial nature of all of these settings relative to optimum performance of the system, Breshears establishes and optimizes all of these settings via his laptop PC. Once it’s removed, access to the network is denied, preventing any unauthorized tampering.

“All of the magic stuff happens here with the process, and we make it so that the client doesn’t ever have to worry about it,” he says. “All they need to do is mix to the three primary channels.”

There’s another unique facet to the design. A phenomenon of the cross-matrixing is that while it provides a high-quality live sound mix, it can lose a bit of clarity with recorded source material such as compact disc. As a result, a Dolby ProLogic processor is included with the system, and can easily be patched in at the front-of-house (FOH) mix/control position whenever a recorded stereo source is to be played. This serves to pull out a more discrete center channel to more closely match playback of stereo recorded material to the discrete mix provided during live music.

Filling It Out

Early involvement by the system designer on this project also produced another advantage, in the form of selecting a very good FOH location. Positioned about two-thirds of the way into the room, at the center, it’s a prime place for sound operators to get an accurate presentation of what the system is actually doing within the room, and to mix more effectively with a given performance.

Prime location for mixing at the Crest FOH console, another benefit of early involvement in the project.

The FOH booth is anchored by a 56-channel Crest V-12 house mixing console, accompanied by a side car mixer providing additional inputs. “We wanted more inputs than they would ever need,” Breshears explains. “They hold a lot of concerts, and expressed the goal of being able to accommodate at least a medium-level touring act with this system.”

A Lexicon 960 serves as the primary outboard effects processing, with a smattering of other outboard gear for specific purposes. A house equalizer was not supplied for operators or visiting engineers; Breshears notes that his experience with this design has resulted in a conclusion that one isn’t wanted or needed.

A regular staple is the recording of services and other performances. In addition to the worship center, a new production studio, designed by famed designer Russ Berger, represented another significant portion of this project. Located in what would otherwise have been a simple choir practice room, this facility offers an excellent starting point for high-quality original recording on site in addition to supplying tools and functionality for mix-down optimizing of live performances.

House system and room tuning, achieved with the assistance of SIA SMAART test and measurement software, proved a rewarding process. Specifically, preliminary tests showed good directivity control of all energy in the room down to 60 Hz, and in general, the predicted results in comparison to actual outcome matched up very well.

“Regarding the acoustical side, there are certain things you can measure and predict and model, but a lot of it is so subjective you can’t be absolutely sure until the room goes live. What we found was pretty much what was predicted,” Breshears concludes. “From a sound system design standpoint, we’re right where we thought we would be; things turned out pretty much as expected.”