Avoiding The Paradox With Church Projects

Open Communication At Remembrance Church

by Keith Clark
Editor, Install Sound
ProSoundWeb

Churches invest, often quite heavily, in systems technology to enhance the communication of their message. Yet there’s a certain irony that the process of developing these systems is often fraught with miscommunication.

Jeff VandeHoef, engineering manager for Integrated Media Group (IMG) of Byron Center, MI, reflected on this paradox while discussing a recent systems project at the new facilities of Remembrance Church in northwest Grand Rapids, MI. IMG partnered with the church to supply the design and installation of sound, lighting and video systems throughout the 60,000 sq. ft. building that includes a multipurpose worship sanctuary, elegant chapel and numerous classrooms and fellowship areas.

“We’ve found that the true secret to the success of any project, with respect to a satisfied customer, is open communication with that customer,” VandeHoef explains. “As a systems contractor, you must, from the very earliest stages of a project, be a communicator as well as an educator.

“The last thing you want,” he continues, “is a big letdown on that first Sunday when everyone walks in expecting to be wowed and it doesn’t happen. Or even worse, serious system problems quickly manifest themselves. Problems can be accepted if you know about them, and they can also positively, rather than negatively, motivate upgrades.”

The huge volume of the sanctuary creates acoustical difficulties without treatment.

Casting a look around the voluminous Remembrance sanctuary, VandeHoef applies his point to this project. The sanctuary spans 120 ft. wide by 110 ft. deep and is bounded by hard, flat parallel wall surfaces, topped by a ceiling that reaches 35 ft. at its apex. It was obvious even in the early architectural stage of the project that the room would present serious acoustical issues that could compromise sound quality.

“EASE modeling of the room based upon the blueprint data confirmed what we could already surmise, which was that there would be a serious build-up of low-mid frequencies in the room. We recommended that the church consider some rather extensive acoustical treatment to address it,” VandeHoef notes.

“But for a variety of reasons, mostly because the project had already moved so far along, the customer opted not to go with our recommendation. At the same time, we made sure that they were fully informed, that it was clearly understood this situation could produce less than optimum results.”

The Early Bird

Ideally, the system integration firm prefers to be involved from the earliest stages of any project. For example, on this project, IMG could have perhaps supplied input regarding the shaping of the room, suggesting modifications that would lessen the acoustical problems while not impacting the overall aesthetic of the sanctuary design.

While IMG was brought on board at a relatively early point, final architectural issues had pretty much been cast in stone. However, they were still able to influence some essential issues such as cable, conduit and interconnectivity infrastructure that would benefit all systems now and in the future.

Through impeccable work in the sound system design phase, followed up by in-depth system tuning, acoustical problems have been kept largely at bay. Yet it’s fully acknowledged by the church that anomalies do exist, and a local acoustical consultant has been brought on board to address the issue, mostly be adding energy “traps” and acoustical panels to the rear wall.

A Whirlwind snake box, next to the amp rack serves the role of simplified patch bay very well.

“I kind of hesitate to say it, but in this case, things have worked out better this way,” VandeHoef says. “Ideally you want everything as good as it can be from the very start. But at the same time, we’ve been able to evaluate the acoustical situation fully, especially the crucial aspect of how the room reacts when it’s filled with an audience. This analysis has helped guide a tailored solution meeting specific needs rather than just doing a blanket answer.” It’s also crucial to interface closely with a church staff member possessing good working knowledge of technology and affiliated issues. At Remembrance Church, Brian Kamstra filled this role expertly, serving as a colleague to both IMG and the church as system work progressed.

“Brian’s real sharp, quite intuitive about systems technology although it’s not his ‘day job’,” says VandeHoef, who also fills the role of technical director for his own church. “It’s great to have a customer who’s tuned in so that you can guide them, but they’re not totally in the dark where you’re starting from ground zero.”

Out of a field of several area firms bidding on the project, IMG emerged the winner due to the quality of their respective system designs, their commitment to flexibility and their product selection. The new Remembrance Church replaces a former facility which the parish had outgrown, located a mile down the road in a rapidly developing region of Grand Rapids.

“IMG’s plans, ideas and approach fit our needs best,” Kamstra points out. “This applied not just to my own thinking, but to all key members of our development team. IMG is also one of the few firms in the region to offer full design and installation of all systems – not just sound but lighting and video as well. While you want to get the best from every system, and would utilize different firms to get this achieved, it’s an added benefit to work with one turnkey source that you have a good working relationship with. The entire systems process is also more coordinated.”

First Consideration

The new Remembrance Church stands alone in a huge field, set far back from the highway. The inspiring exterior leads to an interior of its equal, with a huge entryway serving as the building’s central point.

Brian Kamstra (left) of Remembrance Church and Jeff VandeHoef at sanctuary FOH.

From a systems point of view, the sanctuary compels the most attention. In addition to Sunday services, it’s used for a variety of meetings and events, and can even serve as a basketball court with the addition of a portable basketball hoop. All chairs, padded, can be stacked and moved the perimeter of the room (or even removed) when not needed.

The main platform, measuring approximately 50 ft. wide by 25 ft. deep, occupies the central portion of one of the long sides of the rectangular room, elevated four feet above the floor, which is covered with thin but highly durable industrial-grade carpeting. Immediately adjacent is a large room for storage of a grand piano utilized during services, mic and music stands, portable podiums and the sound system’s amplifier and processing rack.

Remembrance Sunday worship services are relatively traditional, including spoken word by the pastor and other contributors, as well as a full choir, solo vocalists and (mostly) acoustic instrumentation. The organ is a self-contained entity, not tied into the house sound system.

“Always with a church, vocal intelligibility is the first consideration. It’s the most important part, the primary reason for attending,” VandeHoef says. “That’s what drove the sound design here, with the other primary concern being the ability to also reproduce full-range music fully and pleasantly.”

Compact speakers in custom cutouts in the platform are time aligned with the main array, providing fill coverage to the first few seating rows.

EASE modeling is vital at the outset, proven to do a quite respectable job of predicting system performance within a space, in addition to helping with acoustical issues. It’s also valuable in helping to determine loudspeaker selection and location. VandeHoef notes that he uses EASE to narrow loudspeaker choice down to the best two to three models, and then relies upon his experience and understanding of the particular needs of a church to make the final selection. Once the crucial issue of loudspeakers has been settled, he then works “backward” to determine other system elements.

The number and type of loudspeakers determines the number and type of amplifiers the system will require, and so on. Another key factor in this process is determining additional capabilities the church will likely want in the future.

“You need to always be looking to the future, even with regard to things that on the surface appear mundane,” he explains. “Stage inputs are a good example. Just because you’ve got a facility adequately covered in this regard now doesn’t at all mean they’ll be covered in five years. You have to design in the extra infrastructure to make expansion as convenient and inexpensive as possible. Plenty of conduit that’s accessible for cable runs, optimal locations for extra panels, etc. We put a lot of attention on this portion of any project.”

Controlled Dispersion

The main sound system utilizes a single loudspeaker array, flown centrally above the front edge of the platform. VandeHoef notes that the array is positioned as low as possible without interfering with the aesthetics of the platform, a full 10 ft. below the apex of the ceiling, helping to keep sound images “anchored” to the platform. Placing the array too high, sometimes an unavoidable circumstance, can be disorienting to seating in the front half of the sanctuary.

The customer often wishes that loudspeakers be “invisible”, which can manifest itself in placing them too high, compromising the goal of natural sound that appears to be coming directly from the platform. It’s another thing the systems firm should be completely clear about with the customer. Certainly it’s the customer’s choice, but their decision should only be made after an explanation of the positives and negatives.

At Remembrance, IMG’s Roger Walburg designed a subtle, unobtrusive flying system that positions the array at the desired height. Well beyond normal safety tolerances, it is exceptionally stable while accommodating flexible alignment of each cabinet.

Just two compact loudspeakers cover most of the chapel, aided by two more mounted to the underside of the balcony that handle shadowed areas.

The array is comprised of three Eastern Acoustic Works (EAW) KF650 three-way loudspeakers, precision aimed to provide seamless coverage throughout the listening area. Due to the temporary and always changing nature of the sanctuary’s seating, the best approach was presenting a completely unified wavefront to the room, insuring optimum coverage no matter where seating is located. The only regions of the room not receiving direct coverage are the extreme front corners, which isn’t desired anyway. "The KF650 is a versatile box, one that we choose frequently for full-range church

systems," VandeHoef says. "It's very controlled - you don't want to spray sound everywhere, especially in a room with acoustical issues. The dedicated midrange section of the KF650 also proves exceptional with respect to vocal intelligibility.”

Coverage provided by the array is not strictly cut off at the back wall. VandeHoef explains that his approach is complete full-range coverage first, with acoustical problems best overcome with treatment rather than compromising the sound system. Another option, not considered here, would be to cut the main array’s coverage far short and to put in delay loudspeakers to supplement the rear seating areas.

"The array is easily capable of reaching the back areas of this room," he says. "In this instance, a delay system would only add complexity and expense that's not warranted in a cost versus performance analysis.

"We also don't get hung up about losing two to three dB at the back of the room," he continues. "It's an individual choice best made by the sound designer and customer, but our contention is that most folks sit in the back of the room because it's a bit quieter. At the same time, articulation must be maintained and you don't want to be absolutely dead back there."

A classic chapel at Remembrance, with seating for about 250.

One challenge of this project proved supplying adequate coverage to the system control position, located on a small balcony, centralized and jutting out about 8 ft. from the rear wall. The array’s center loudspeaker was tilted upward a few extra degrees to attain this coverage, necessary to give system operators a completely accurate picture for optimum mix and level adjustment. Supplemental coverage to extreme front seating areas, primarily in the central

region, comes from EAW JF50 compact two-way loudspeakers concealed in chambers built into the front of the platform. These loudspeakers are time aligned to insure cohesive arrival with the output of the main array. The platform also houses an EAW SB250 (dual 15-in.-loaded) subwoofer bolstering low-frequency performance when desired.

Power & Connectivity

Crown K2 convection cooled amplifiers power the KF650 loudspeakers, matched with the loudspeakers one to one. The KF650's are biamplified, so a single K2 channel drives its respective loudspeaker's low-frequency section, while the other channel drives both the mid- and high-frequency sections.

"Certainly you could elect to triamplify the main loudspeakers, but it's not warranted with the KF650's," VandeHoef says. "The mid and high frequencies would each be a bit cleaner if separated with their own processing and amp channels. But it's debatable if most listeners would even notice; the mids and highs of these particular loudspeakers merge very cleanly on their own, and thus the added expense and complexity isn't justified."

Another K2 drives the subwoofer, with two Crown CSL Series amplifiers dedicated to the front-fill loudspeakers as well as two compact EAW SM Series monitor wedges that can be moved around the platform. All of these amplifiers, as well as the system’s Crown USM-810 processor and Furman power conditioning units, are stored in a Middle Atlantic rack in the adjacent secured room.

The chapel system’s A & H console, as well as amps and processors, reside on a custom desk at the back of the room.

Mounted on the wall next to this rack lives a Whirlwind audio snake box, functioning as an easy to use and inexpensive patch bay. A staple of IMG church sound designs, the snake box is ordered without XLR connectors, meaning that its cable can be run easily through conduit to the house console, with the bare wires then terminated directly at the house console, in this case an Allen & Heath GL3300.

Some inputs on the snake box remain standard and aren't touched, for example, wireless microphone systems used by the pastor and other contributors and the piano microphone, while others can be switched around as needed.

"It's important to remember that the staff is made up of volunteers, so keeping things simple is the goal," VandeHoef explains. "This snake box gives them all the flexibility they need, but it's so easy to understand that you get consistency, even with the most inexperienced users. It also prevents unnecessary stress that can occur when you try to move inputs around at the back of the console. And in this particular case, given the location of the console at the very front edge of the second-floor mix position, access to its rear panel is difficult. This approach is also budget friendly; you're always looking to achieve goals fully while helping the customer save money where possible. Patch bays are great if you understand how to use them and don’t mind paying extra."

The USM-810 digital processor supplies all house and monitor system parameters, including crossover, equalization and delay/alignment settings. It also provides a remote feed to distributed ceiling loudspeakers throughout the facility. VandeHoef notes that he likes the unit for its "cost versus feature" set, and adds that new software recently introduced by Crown making it even easier to program.

Tuning It Up

With the immaculate planning in the design phase, main system tuning proved a fairly straightforward process, with VandeHoef utilizing Gold Line TEF software analysis, working in tandem with a microphone moved about the listening area. Adjustments on the USM-810 processor could be made remotely from the sanctuary as VandeHoef both listened and evaluated the TEF data, courtesy of a cable interface from the processor to his laptop computer.

Most paramount in the evaluation is the measurement of Articulation Loss of Consonants, or ALCONS for short. The key to vocal intelligibility is the system's ability to clearly produce consonant sounds of language. Vowels alone won't do the trick. Without getting to heavily into the specifics of the program, suffice to say that the lower the ALCONS measurement, the better.

"We're averaging an ALCON measurement of five to six in this sanctuary, which is very good given the acoustical situation. At the most outside areas, it goes up to a seven, certainly tolerable and something that will improve with the added treatment," he explains. "Overall we found what was predicted in EASE. Speech is intelligible and will improve, and there's some low- and low-mid-frequency buildup that will also go away. We did some compensation during the tuning process, but nothing out of the ordinary. Some notching of low-frequency filters in the equalizer took care of most of it. Once the treatment is in place, we'll re-address tuning and make some further refinements in light of the altered acoustical signature."

System levels are kept at a comfortable 75dB to 85dB range. Nothing more is warranted for even, intelligible and, when necessary, dynamic coverage. The point is making sure every seat is covered, that the system can overcome ambient noise generated by the crowd and other factors like the HVAC system.

"The baby boomer generation almost always wants it louder, but the older generation likes it softer, so you bridge the difference," he says. "We strike a balance where it goes as loud as you might possibly need, but the average is pleasant. Some of this also goes to selecting quality components, where you get a depth in the output that makes it full but not overly loud. A lot of the loudness of a system is a matter of perception."

Maximum Choir

One issue that's never quite the same between two church system projects: choir microphones. Type and location are among the numerous variables. At the Remembrance sanctuary, the approach proved to be Crown CM-700 condenser microphones on mic stands that allow them to be placed optimally, no matter the configuration of the choir.

Crown amps and digital processing in a Middle Atlantic rack in a room to the side of the platform.

The customer had inquired about hanging choir mics, with IMG providing a complete overview of options. Given the location of the video screen above the platform, hanging the choir mics where they needed to be would have impeded the screen. Further, hanging the mics in general creates a static situation, limiting creative options on choir configuration. "We're not at all against hanging choir mics if it doesn't impact other issues and if it's the preference of the client," VandeHoef says. "But using premium mics on stands has multiple benefits. First, you get better performance from larger diaphragm mics; choir mics are very small by necessity. And, making them portable insures optimum placement and creative freedom. They can tailor placement to whatever they want to do. It's also an easy way to compensate for a solo vocalist who might not project well.

"Choir is an aspect of services that many churches like to hang their hats on. If you've got a good choir and it's really important to your message, why go with cheap mics, or locate them where they can't do the job? It all goes back to making sure every piece in your system signal chain is as good as it can be."

The stage platform is outfitted with 36 mic jacks, split between six Ace floor pockets that also include stage monitor jacks, video camera jacks and even data ports for easy plug-in of computers. While the number of mic jacks might seem excessive, the point is extreme flexibility at a very low cost. Panels, jacks and their related wiring are all inexpensive, especially if included in the infrastructure-planning phase. Further, offering plenty of panels makes for short runs to plug in, keeping the platform clear of cables that not only mar aesthetics but also present the hazard of tripping.

The pastor and worship leaders use Shure U Series UHF wireless microphone systems, complete with bodypacks and lavalier microphones. The receivers for these systems are mounted in a portable rack at the control position.

IMG partnered with the Shure Application Engineering Group on an innovative solution allowing these systems to be used both in the sanctuary as well as in the chapel, which is several hundred feet away. Antennas are mounted in both locations, insuring optimum reception, with the operator able to easily switch between both sets of antennas.

"It's a "bang for the buck" scenario, where you get dual use from the same equipment," VandeHoef says. "However, you can't just slap extra antennas all over the place and expect it to work. We recommend, as done here, that you consult with the factory on how best to approach it."

Joining the GL3300 console at the control position is a Lexicon MPX-500 reverb unit that’s applied primarily to specific vocal channels when desired. Source devices include Denon CD and cassette players, with a direct feed to the cassette player for recordings, distributed to those who can’t attend.

Lights, Camera...

IMG also supplied design and installation of the sanctuary’s video and lighting systems. While neither of these is as complex as the audio system, communication with the customer still played the predominant role in the evolutionary success of both facets.

A Barco 6400 projector, positioned at the floor level of the control position, works with a 12ft. video motorized screen which can be lowered and raised at the platform, with the two elements combining to supply a quality image. A single Extron LDi4x video switcher lets the operator go easily between video and computer sources, and as mentioned, there's plenty of infrastructure for future source addition and interconnect.

But pardon the pun, the initial lighting system, as proposed and ultimately enacted for a brief period, impacted the video picture. IMG noted the problem early in the project, pointing it to the client that the lighting system, largely house-based with only minimal stage lighting at the platform and lacking in dimming control, would wash out images on the screen.

This initial system, installed by the electrical contractor on the project, certainly was competent and met its intended specification. However, the platform wasn’t lit to satisfaction in terms of brightness and also in dynamic. Soon after initial commissioning, IMG augmented the system with an ETC Express 96-channel console, located at the control position, linked to 12 ETC Source Four fixtures and 12 Source Four PARnel-A fixtures, all mounted on ceiling trusses high above the front/center of the audience area.

Goin' To The Chapel

The chapel, offering a traditional long, narrow configuration with a small rear balcony and seating for about 250, is primarily intended to host weddings and smaller, more intimate services. Systems are in no way as complex as in the sanctuary, but a few items bear discussion.

An EAW wedge and EV RE27 mic on the piano conveniently plug in at one of six floor panels on the platform.

Initially, IMG's audio design called for sound reinforcement by a KF650 full-range loudspeaker, flown above the small front platform. The balcony would be covered by a compact loudspeaker, time aligned to the front loudspeaker. Later in the process, however, IMG re-evaluated this approach, deciding to change to a much smaller front loudspeaker. Audio reinforcement is primarily for speech, along with acoustical instruments and

occasionally, vocal soloists singing to tracks. These applications didn't necessitate the larger loudspeaker, along with the added provisions to fly and aim it. And, it would certainly be an aesthetic detraction.

IMG instead opted for an EAW JF80 compact loudspeaker, painted white to blend in, flown about 20 ft above the floor and angled down appropriately. The considerably lighter weight of the box meant that flying hardware is stealthy, almost to the point of invisibility and giving the impression that the speaker is literally floating in the air. Another JF80, positioned in the same manner, covers the balcony.

Shadowed seating areas under the balcony receive mid- and high-frequency bolstering from two EAW UB12 (also white) compact loudspeakers mounted snugly to the underside of the deck. An EAW SB150 subwoofer with white cabinet resides discretely behind the grand piano at the front of the room.

"We want from a high output controlled loudspeaker to a lower-output device with wider dispersion characteristics, and it's been an improvement," VandeHoef explains. "Not only does it work well with the acoustics, but it looks really neat. It's a great fit."

The church designed an attractive desk to house all other audio system components, residing at the very back of the room. IMG consulted on the design of the desk to be sure it was sized properly to securely accommodate power amplifiers, effects and source devices and an Allen & Heath GL2200 console supplying plenty of flexibility.

The USM-810 processor for this system does double duty, also supplying all processing for an EAW MM60 system (two compact speakers and a sub) serving a youth meeting area in the church basement. This area is also outfitted with mic and source jacks for remote source.

"We're using the automixer functionality of the USM-810 heavily for both the chapel and the remote system, essentially making them plug and play without need of an operator," he says. "It's an application that exhibits the true value of the product."

One Day At A Time

Kamstra and his peers have registered their satisfaction with the performance and quality of all systems at Remembrance Church, and perhaps most importantly, they're also pleased with the development process.

"The most important thing is that we have clear, impactful sound, with the spoken word highly intelligible. We have a lighting system that enhances our presentation values, and a video system that's working as intended with plenty of future capability," Kamstra states. "IMG has been our partner in every phase and they continue to support our needs from both system and educational standpoints. That’s a perfect combination."

VandeHoef echoes, "When you have an honest relationship, it makes all the difference in the world. Projects are rarely perfect at the start, and as long as you all share the commitment to bring things up to par, to exceed expectations and to look to the future, there's no disappointment on anyone's part. As the song says, take it one day at a time and good things are bound to happen."


Keith Clark is editor of install sound for prosoundweb.com and has authored hundreds of systems application articles.