Article

Wednesday, May 16, 2012

Church Sound Files: What You Need To Know About Wireless Systems

An in-depth yet easy-to-understand discussion of wireless systems, how they operate, issues that can plague performance, and solutions that do the trick in the vast majority of situations.

Editor’s Note: This article provides straightforward explanations of the primary issues that account for a full 80 to 90 percent of all wireless microphone system problems, while also presenting solutions that will do the trick in most cases.

However, keep in mind that the best solution is avoiding these problems from the outset. Certainly this won’t guarantee completely trouble-free operation, but the odds dramatically improve.

This compilation of wireless system knowledge is provided by several highly qualified professionals, with Gary Stanfill, who has worked with wireless and related technologies for more than 40 years, topping this list.

Our sincere thanks to Gary as well as others who have contributed this important information.

This primer is presented in three parts.

Part 1, Getting Started, begins directly below.

Or, go directly to the other parts:
Part 2: Avoiding Wireless System “Issues”
Part 3: Downsides Of Digital

Part 1: PSW Wireless Primer
 
Getting Started
Anyone who has used wireless microphone systems for even a short time doesn’t need to be sold on their advantages. “Going wireless” allows concentration on the message rather than on the mechanics of delivering the message. (No more pesky mic cables!)

Yet wireless systems can be slightly mysterious, prompting suspicion among some users - particularly if they’ve experienced problems for unclear reasons.

The easiest way to understand wireless systems is to think of them as small-scale radio and TV broadcast stations – a transmitter sends out a signal that is picked up by a receiver.

For a number of reasons, including size, weight, battery life and government regulations, wireless systems operate at quite low power and thus have limited range.

The wireless microphone (or bodypack) is the transmitter, complete with a mic capsule, some audio circuitry, and an antenna (usually built into the case). It sends radio signals to its companion wireless receiver, which also has an antenna and some circuitry to select and process the signal, which is then sent via a cable to the sound system.

The transmitter and receiver of each wireless system must share the same frequency. Any other wireless systems in use in the same area must have their own frequencies as well. Ugly noise is produced if two wireless systems are using the same frequency in the same area. 

The same goes for other transmitters, especially those of TV stations.

And because these transmitters send out very powerful signals, they are a common cause of interference for wireless systems.

Even though a wireless system needs a clear frequency for the area where it’s going to be used, every frequency is used again and again across the nation.

Again, this is because the power of the output signal of wireless systems is very low.

Keep in mind, however, that there is no absolute guarantee that a clear frequency in one area will be clear elsewhere, even just across town.

This is an aspect about wireless systems that sometimes puzzles users; the government takes care of the problem for the high-power signals of commercial broadcasting, but wireless system users are responsible for avoiding this problem on their own.

Fortunately, most modern wireless systems (developed in the past 15 years or so) offer some degree of frequency agility (also called frequency synthesis). This means that the user is able to select an operating frequency from a number of possible choices, ranging from as few as four frequencies to 1,400 or more, depending upon the model.

The more frequencies offered by a wireless system, the better the chance of finding a clear frequency that is not being used by someone else in the area. Further, in larger cities, where there are more frequencies occupied by numerous users, the ability to choose from a larger number of frequencies is especially important.

Having plenty of open frequencies also helps wireless system users get around another potential problem: intermodulation (or intermod for short). This can occur where the frequencies of two transmitters (of any type) “combine” in a wireless system receiver, resulting in noise and interference.

Most often, intermod is caused by a combination of the frequencies from two TV transmitters, or by the frequency of a TV transmitter combined with the frequency of a wireless system transmitter.

Because the source of intermod is usually not under the control of the wireless user, there is usually little choice except to change the frequency of the wireless system. This is yet another reason for choosing a wireless system outfitted with a wide range of frequency selections.

By law in the U.S., wireless systems are supposed to operate only on TV channels not in local use. If a wireless system happens to cause interference to TV viewers in the area of its use (and this can happen even with their lower output level), the interference is likely to be reported, resulting in the user drawing unwanted attention from law enforcement. 

Thus it’s vital for the wireless system user to keep handy a list of local TV frequencies in use (available online at www.antennaweb.org/aw/Address.aspx), and to avoid those frequencies.

Although many wireless systems can “automatically” select frequencies or scan to see local RF activity, it is still possible to select the frequency of a local TV channel and get the innocent user into trouble.

Wireless systems are available for “VHF” and “UHF” frequency ranges (also called bands), roughly corresponding to VHF TV channels 7 though 13 and the UHF TV channels 14 through 69.

The question as to which range is “best” has pretty much been settled by the wireless manufacturers, who generally only offer systems with numerous frequency choices in the UHF band.

Additional bands used by wireless microphones include the “944 MHz” band between 944 - 952 Mhz. This is a band reserved for use exclusively for broadcasters.

Also, the “ISM” band between 902 - 928 MHz is an unlicensed band used by several wireless microphone products. Finally, the 2.4GHz band is another unlicensed area used by wireless manufacturers.

Although the UHF TV band classically extended up to channel 69, channels 52 to 69 (698 MHz to 806 MHz) has been converted to non-TV use - divided up by the U.S. government/FCC and auctioned to various companies for wireless devices available on the consumer market.

Accordingly, it is now against the law to use wireless microphone systems in this band. Even though a system has operated in this range without problems for years, it is illegal.

With all these competing signals in the air throughout the VHF and UHF bands, even high-quality wireless systems can run into problems when operating at distances of 100 feet or less between the transmitters and receivers.

Range problems usually appear as “fizzing” or “swishing” noises, perhaps followed by the complete loss of the audio signal. (This is called dropout.)

In addition to the low transmitter power, two other problems can limit the range of wireless systems. The first is signal absorption due to building construction and internal equipment, or shielding by metallic objects such as electrical wiring, air conditioning ducts, storage cabinets and the like between the transmitter and the receiver.

The term “line of sight” is often used to express the idea that the signal path from the transmitter to the receiver should be open and clear of obstructions.

This simply means that if the wireless user can physically observe the receiver antenna, RF signal absorption is likely to be low.

The second problem is called multipath. It’s a phenomenon that results in numerous small areas where little or no wireless signal is present because of reflections and the resulting phase cancellations, and it often tends to occur within a fairly short distance between transmitter and receiver.

To overcome the problem, a majority of modern wireless receivers now use a technique called diversity. With diversity, two slightly separated receiver antennas are used, making it very unlikely that both will simultaneously be in one of the low signal (multipath) areas.

The receiver automatically selects the antenna with the strongest signal, not only solving multipath, but also increasing the reliable range of a wireless system.

A final note: most users are surprised to learn - despite urban myths to the contrary – that the U.S. government requires wireless systems to be properly licensed prior to use. 

Unfortunately, the agency in change of issuing these licenses (Federal Communications Commission, or FCC) makes it very difficult for conscientious users to actually comply.

As a result, the vast majority of users don’t go to the trouble. But keep in mind that unlicensed wireless systems are in technical violation of FCC rules, and therefore are theoretically subject to fines.

As a practical matter, the FCC has neither the resources nor the inclination to go after the “average” wireless user, so the risk is low. But not zero. Due to the recent changes in spectrum allocation, this issue is being re-visited.

It appears that the FCC may make it easier for typical wireless microphone users such as churches, theaters, musicians, etc. to register their products.

This would also be beneficial in the event that additional types of consumer devices appear and complete for the same spectrum we are currently using.

Click here to continue to Part 2 (Avoiding Wireless System “Issues”) of this series, or click here to go directly to Part 3 (Downsides Of Digital).

Part 2: PSW Wireless Primer
 
Avoiding Wireless System “Issues”
Although the popularity of wireless microphones continues to grow, there’s no denying that they present more opportunities for problems than their wired counterparts.

In addition to the normal acoustic concerns that come with any mic are the complications of RF (radio frequency) transmission, interference, frequency selection, batteries and several other issues.

And technical improvements in wireless systems have not entirely kept pace with increasing frequency congestion, digital television and other recent complications.

Still, the hundreds of thousands of wireless systems employed in the U.S. is compelling evidence that the majority of users will live with the added challenges. Besides, many of the problems encountered by wireless users are largely avoidable, and happen primarily due to oversights, mistakes and misunderstandings.

Addressing the following common issues greatly improves the reliability of wireless systems and goes a long way toward ensuring trouble-free operation.

Issue: Frequency planning and coordination. Wireless systems share the RF spectrum with TV stations and several other types of authorized users. As a result, interference is very likely unless appropriate precautions are taken.

Solution: The first step is to determine the TV channels that broadcast over the air in your area.

When the local TV channels are known, they can be compared to the frequencies of the wireless systems. If there’s a conflict, the wireless frequencies must be changed. This is relatively simple for synthesized systems as well as ones that search for vacant frequencies, but the solution is more difficult for fixed-frequency wireless.

Despite the inconvenience, wireless systems should not be used on occupied TV channels. Not only is interference almost certain, the practice is illegal. 

Issue: Intermodulation. Wireless systems can also experience severe interference even when operating on “vacant” frequencies. This is created by intermodulation distortion - basically two strong signals on other frequencies combining in the wireless receiver to create an interfering signal.

Called “intermod” for short, generally this type of interference is more common than direct on-frequency interference from other transmitters.

Intermod is typically caused by other wireless systems, or by other wireless in conjunction with local TV signals.

Even single systems can be affected, but the probability of problems grows roughly proportionally to the square of the number of systems in simultaneous use, plus the number of active analog TV channels present. 

By the time eight or more wireless systems and six or more TV channels are involved, it can become quite challenging to find usable frequencies.

Solution: One or more wireless frequencies will have to change. There is generally no other practical solution.

Again, synthesized systems and “auto-search” frequency finding can be very helpful.

However, any frequency can potentially interact with any other, so changing one frequency can solve one problem can create another - or several others.

When changing frequencies or searching, it’s absolutely critical that all RF systems of any type at the location be turned on and operating.

As one clear wireless frequency is found, that system must be left on, and the next system tested until all are operational.  Otherwise, the situation can quickly become a snarl of changes and more changes, “phantom” problems, confusion and frustration.

Some manufacturers offer assistance in selecting usable frequencies, and as always, don’t hesitate to get your sound contractor involved.

In addition, there are a number of readily available software packages that are designed to aid in calculating your frequencies so that intermod problems are avoided.

Several manufacturers of wireless microphones offer this kind of software, and there are third-party options as well. Often, the third-party solutions are the most flexible – offering coordination of many types of systems by most manufacturers.

Issue: Shielding or covering antennas. In order to properly launch a radio wave, a sizeable volume of free space is required around an antenna, and in general, they must be unobstructed.

Solution: For efficient operation, all wireless system antennas must be kept clear of metallic objects that can weaken and distort signals in addition to reducing range. With bodypack transmitters, the antenna must be kept away from the mic cable, the bodypack case and ideally, the wearer’s body.

Securing antennas to the transmitter case and tying antennas to cables, as is sometimes done, can be absolutely deadly to range. Skin and flesh can absorb RF energy, so it is best to have the transmitter case and antenna away from the body.

Further, receiver antennas must extend away for the receiver case, as well as away from other antennas, equipment racks, other equipment, cabling and, again, metallic objects.

It’s best to mount receivers at the top of the rack so that the antennas extend above and away from the rack and other equipment. Using rear-mounted antennas inside a metal rack will almost always result in very poor reception.

For multiple receiver installations, the common practice of positioning front-mounted antennas in a “V” configuration, with all the antennas parallel, will also reduce range. It causes them to function together somewhat like a TV antenna that’s pointed upwards.

Even worse is when antennas from two different receivers touch. Not only will range be seriously compromised, interference becomes much more likely. In such a situation, it is much better to incorporate a single pair of antennas and then an antenna splitter to distribute the signals to the receivers in the rack.

Issue: RF path. A clear path between the receiver and the transmitter is also required. This is sometimes called a “clear line-of-sight,” but remember, light will pass in a straight line through a small hole while radio waves will not.

Solution: Similar to the free space needed around an antenna, radio waves require a sizeable space in which to travel.

The amount of space necessary depends upon frequency - the lower the frequency, the more space needed.

Create an imaginary tunnel of open air between the transmitter and the receiver antennas.

For UHF systems, a tunnel diameter of 3 feet or so is usually adequate, but for VHF systems, it should be at least twice as large. There also should be no metallic objects - scaffolding, iron beams, cables, cabinets, pipes, etc. - within this space.

In particular, large flat metal objects such large ducts, rows of cabinets, truck bodies and the like that are parallel to the path should also be avoided.

Even though they might not be in the direct path, they can still act similar to a mirror, reflecting RF energy away from the direct path. Systems with diversity reception help avoid dropouts in these situations, but range still can be reduced considerably.

Issue: Long antenna cables. Sometimes it’s necessary or desirable to locate antennas at a farther distance from a receiver. RF coaxial cables can be used to connect the remote antennas to the receiver inputs.

However, they typically have considerable losses that will reduce operating range. The amount of loss depends upon the size, construction and quality of the cable, and upon the operating frequency.).

Even high-quality RG-58 cable will have a loss of about 8 dB per 100 feet at 200 MHz, and about 17 dB at 700 MHz. Since every 6 dB of loss cuts range by half, the working range with 100 feet of this cable will be only 40 percent of normal at 200 MHz, and a mere 14 percent of normal at 700 MHz. 

Premium RG-58 type cables, such as Belden 7806R, are better, offering about 4.7 dB loss at 200 MHz and 8.9 dB at 700 MHz.  Still, at 700 MHz, only 68 feet of this cable will cut range in half.

Solution: If long cable runs are s necessary for your wireless systems to work properly, skimping on the cost of the highest quality cables available is a bad decision. For the best results, a premium foam-dielectric cable such as Belden 9913 should be used. This cable has only 1.8 dB of loss per 100 feet at 200 MHz, and 3.6 dB at 700 MHz.

Generally, it’s preferable to run audio cables out to remote receivers, keeping RF cables short. This is particularly true with runs longer than 75 feet or so. If remote location of the receivers is not feasible, go with the high-quality, low-loss cable noted above.

In-line RF amplifiers can also be used to boost the signal before the long cable run. These devices require power, and add cost. So before thinking that RF amps are the way to go, consider how the system can be configured to avoid using them and still keep your cable loss to a minimum.

Issue: Batteries. Simple but true and most certainly the number-one cause of wireless problems the world over!

Fortunately, it’s the one that’s easiest to fix.

The most common cause of short battery life is poor quality or old age, along with mixing used batteries with new ones and simply losing track of how long a battery has been in use.

Some sound operators also fail to understand that, when turned on, wireless transmitters draw power even if not being used, and that the “mute” switch does not affect the current drain.

Solution: Check transmitter batteries prior to every use. Get a battery tester to help you determine a good battery from a bad one. And when in doubt, change to a new battery!

Name-brand alkaline batteries such as Duracell and Eveready are the best bet. While private label batteries are often nearly as good, their useful life can vary considerably from purchase to purchase.

Make sure that to buy batteries that are date coded, and don’t accept any whose expiration date is less than three years away. And never use zinc carbon or toy batteries; most can’t even properly power up a modern wireless transmitter.

Classically, many techs recommend against use of rechargeable batteries, and for good reason. Rechargeable batteries used to have much lower capacity than alkalines, and the useful life was usually short. This was particularly true of 9-volt units, whose operating life was a fraction of that of an alkaline.

In the past five years, the technology for rechargeable batteries has improved dramatically. Now, NimH and LiPoly batteries are every bit as good as alkalines, and in some cases even better.

Still, it is important to recognize the added complexity of using rechargeable batteries – a clear strategy will be needed for keeping them charged, tested, and removed from the pool when the time comes. By doing this, you can save considerable costs and it’s also better for the environment.

Even more issues that are relatively simple to address can impact wireless performance.

Part 3: PSW Wireless Primer
 
Downsides Of Digital
Issue: Digital interference. Modern digital audio equipment, including processors, equalizers, controllers and other gear, operate at high clock frequencies that generate considerable radio frequency (RF) noise. (By the way, this noise is often termed RFI.)

As a result, it’s not at all unusual for such equipment to interfere with wireless systems.

Symptoms include low-level spurious tones, buzzing sounds, hissing and a varying noise floor.

Digital interference can also cause an unexplained loss of range and other problems.

Although FCC rules require that such equipment be tested to meet spurious emission standards, it’s a fact that not all units are indeed tested.

In addition, loose covers and casings, warped metalwork, lax grounding and other mechanical shortcomings can greatly increase spurious RF emissions.

Even properly approved digital equipment, in good working order, may generate enough RFI to affect wireless receivers located nearby.

When wireless interference occurs, one of the first things to do is to temporarily turn off digital devices to see if they are the source of the problem.

Solution: As a general precaution wireless receivers should be located as far as possible from digital gear. Often just moving the equipment a few rack spaces apart is enough to solve a problem.

More severe cases may require separating the wireless power, signal and RF cables from those going to the digital equipment.

Using remote antennas with the wireless systems may also be helpful.

And finally, try tightening up the covers on any offending digital gear and also adding a ground strap to the cabinet or other local ground point.

Issue: Lapel (or lavalier) (microphone sound quality. Lapel mics can cause a number of different problems. A common complaint is thin sound quality, which often occurs when the user has previously used only mics intended primarily for vocal applications.

These mics generally boost low frequencies to make the voice sound warmer and fuller, but the omnidirectional mics normally used with wireless bodypack transmitter systems don’t have this boost and thus can sound noticeably different.

Another cause of “thin audio” from lapel mics is interference. RF energy can “couple” into the mic cable and affect the preamplifier circuitry in the mic capsule. A high percentage of all lapel mics exhibit this problem under at least some circumstances.

If the voice quality and level varies when the mic and cable are moved around in close proximity to the wireless transmitter antenna and body, it is almost certain that RF interference is present.

Solution: In all cases, the manufacturer of the wireless system exhibiting this problem should be first contacted for specific recommendations. However, the problem is often solved with the addition of small RF bypass capacitors to the mic connector. Note that this should only be done by a qualified service professional only.

Issue: Lapel mic feedback. Users new to wireless often complain that a system is defective because feedback occurs where none was present before. Part of the problem is that the lapel mics typically used with wireless are not directional and thus provide little feedback protection.

However, the larger problem is usually that the mobility of wireless allows users to walk into zones more likely to cause feedback.

Solution: Use lapel mics with a unidirectional pattern, or use headset mics. Moving the mic closer to the mouth and lowering gain is also helpful. Many users think headset mics are unsightly, but unidirectional mics can suffer from sudden drops in level when wearers turn their heads.

The better solutions are acoustic, either by training users to avoid feedback zones, or by modifying the loudspeaker configuration to put feedback zones out of reach.

Issue: Lapel mic mechanical problems. This is common to lapel mics, in particular because their cables are small, often delicate and typically get considerable abuse.

Even if not damaged outright (i.e., the cable pulled out of the mic connector), lapel mic cables eventually wear out.

Most often this wear occurs first at the connector end, but keep in mind that it can also happen at the capsule end. Usually the cable shield fails first due to constant bending in the area where a cable leaves the connector’s strain relief.

When this happens, clicks, pops, other noise and “lost audio” are experienced. Even before there’s a complete break in the shield, pops and clicks due to RF disturbances can happen.

Therefore, it’s always prudent to check the cables when experiencing lapel mic noise of any type. Breaks at the connector end can usually be repaired (and don’t forget the bypass capacitors), but a break at the capsule end may not be fixable.

Mechanical noise due to lapel mic capsules rubbing on clothing is relatively common and can usually be eliminated by using the right type of mic clip, one that holds the capsule away from the fabric.

It may also be necessary to carefully secure the cable near the mic capsule. Static electricity sometimes creates audio noise, especially with certain types of fabric. Clothing anti-static spray usually solves this problem.

Issue: System quality. It may seem strange to list “system quality” as a wireless problem, but a great many wireless difficulties start with inferior equipment. Inexpensive systems can often work well in rural areas and/or in relatively undemanding applications.

But in larger cities and their surrounding suburbs plagued by typical frequency congestion and myriad interference sources, something better may be required.

The same is usually true when more than a few systems must be operated at the same site. And, this situation is going to worsen, with more and more digital signal sources going on the air almost daily.

The adoption of digital technology has greatly lowered the price of many audio products, but the impact of these advantages on wireless systems has been relatively small to this point. Wireless systems are still largely analog-based, and their manufacture is more labor intensive due to the requirement of considerable tuning, testing and tweaking.

Quality components also tend to be expensive in comparison to digital components and are less adaptable to low-cost automated assembly.

Unfortunately, there is yet no new magic technology that can cut the cost of a quality wireless system significantly - say 30 to 40 percent. Right now, if cost goes down, so do quality and performance. And it’s easier and cheaper for manufacturers to promote their mic capsules and “features” rather than build in better performance.

Consequently there is a growing tendency to regard the RF portion of a wireless system as being relatively unimportant. This is a serious mistake.

Solution: If a wireless system doesn’t have the selectivity and interference rejection to cut through all of the “junk” in the air, it doesn’t matter which mic elements it has, how neat the feature set, or how much money was “saved”. You’re simply left with something that doesn’t work like it should.

The recommendation is to pay a little more and go for performance over features. High-quality wireless systems cost less than half of what they did 10 years ago, and they work better in virtually all cases.

Final Thoughts: All in all, wireless microphone and in-ear monitoring systems can significantly enhance the experience for audiences and performers alike. Freedom of movement for actors, musicians, minsters, orators and politicians is a major benefit.

However, the complexity, cost and potential problems are the risks of using microphones. By following the guidelines presented in this series of articles, you should be well on the way to flawless operation from wireless systems.

Don’t forget that this is a changing world with respect to the RF spectrum and thus the operation of wireless mic systems. What works today may not work tomorrow.

Your best bet is to stay informed and educated. Watch for announcements about RF issues related to the FCC and potential other users of the spectrum. Keep up with the technology as manufacturers introduce new systems.

And most of all, stay up on troubleshooting skills so you can identify where the problems originate. Sometimes the wireless will be at fault, and sometimes not. It’s best to know the difference.

Click here to go to to Part 1 (“PSW Wireless Primer”) of this series, or click here to go directly to Part 2 (“Avoiding Wireless System “Issues”).

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Church At Former Harley Davidson Factory Outfitted With NEXO Loudspeakers

When LifePointe Christian Church in Elk Grove, CA was looking for a sound system to compliment a new location—a converted Harley Davidson showroom—it turned to the expertise of CCI Solutions of Olympia, WA, with project manager David McLain recommending NEXO PS15 loudspeakers for the 400-seat church.

Specifically, the new system includes three PS15s and a flown NEXO CD18 subwoofer, all driven and controlled via a 4x4 NXAMP.

“Pastor Chris Delfs sought out a new location where they would not only own their space but could create a unique, new culture,” states McLain. “They weren’t looking for a NEXO system per se, but were looking for good advice. At only 60 feet deep, with less than 20 feet of trim, a line array would not have been the best tool, whereas, the asymmetrical horn pattern of a PS15 reaches the back rows with ease.”

“David actually discouraged a line array approach in this case, and if you look at how much the HVAC and lighting impacts the trim height, the PS solution was much better,” notes Steve Armstrong of PROS Inc.,an iindependent rep firm for NEXO.

“I’d been hearing a lot of talk about NEXO speakers over the past few years,” and have listened to various models and I was impressed enough to recommend them for a couple of rooms, particularly given the outstanding support I’ve been receiving from Yamaha Commercial Audio Systems,” says McLain. “I didn’t really know the extent of the NEXO lineup until I had opportunity to listen critically and extensively to their whole selection of speakers at a demo at the Cerritos Performing Arts Center in California.

“The Cerritos Center is an awesome building. We used their beautiful main room to try out the NEXO speakers. I spent the first demo day designing speaker systems for rooms using various software, and I liked the way the NEXO speakers worked in the planning, and also liked what I saw in the computer models. The NS-1 software was easy to work with, so I imported some real-world rooms, like LifePointe, that I’d been working on. It appeared the NEXO PS Series would provide excellent coverage.

“I have to admit, there’s a fair bit of skeptic in me,” he continues. “A box that promises a rectangular coverage pattern had better do more than just advertise well! It needs to offer an actual rectangular coverage pattern. And more importantly, it needs to sound good! In the next day’s listening tests, I measured 112 dB at the back of the listening room, and I have to say, it sure didn’t feel like 112 dB. In fact, it didn’t sound like a PA playing. It sounded like a woman was right there singing to me.

“Yamaha brought in a live jazz drummer and they just sounded louder, like there was no PA in between. Even the little NEXO PS8 two-way sounded way bigger than its small size. And, all of the subwoofers for the line arrays – which were shaking my pant legs at 100 feet – are cardioid subs. Even during the ‘fairly loud’ cuts (think aggressive Sunday morning volume), we could easily hold a conversation on the stage behind the subwoofers.”

CCI Solutions
NEXO/Yamaha Commercial Audio

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Tuesday, May 15, 2012

Meyer Sound MINA Amplifies Enthusiasm At Yuong-Sang Presbyterian Church

The sermons and songs may be in Korean, but the level of passion expressed in worship at Yuong-Sang Presbyterian Church easily matches that of any other dedicated church service in America.

The excitement level recently kicked up a notch when Yuong-Sang, located in the Philadelphia suburb of Horsham, invested in a new sound system anchored by Meyer Sound MINA line array loudspeakers.

“MINA is a perfect fit for Yuong-Sang in both size and performance,” says Dave Brotman, owner of Coatesville, Pa.–based systems integrator DBS Audio Systems, Inc. “Yuong-Sang has a very active music program, with services including a band, orchestra, and 100-voice choir.

“MINA delivers the power and the clarity the church needs, but in a compact box that blends with the look of their remodeled sanctuary.”

The custom-painted Meyer Sound system includes left and right arrays, comprised of six MINA loudspeakers flown under a 500-HP subwoofer on each side. Five UPJ-1P VariO™ loudspeakers are spaced along the rear of the sanctuary as balcony delays, and six MM-4XP self-powered loudspeakers are recessed in the stage steps to provide front fill and lower the perceived audio image.

“The church already had expressed a preference for a Meyer solution based on the senior pastor’s experience at other churches,” Brotman explains. “They were looking at a M’elodie [line array loudspeaker] system, but by using MAPP Online Pro [acoustical prediction program], I showed them that the more compact MINA would give them all the performance and coverage they needed—and save them a substantial amount of money.”

The Meyer Sound loudspeaker system installed at Yuong-Sang is self-powered, therefore requiring only two additional items to complete the setup: a Galileo loudspeaker management system with one Galileo 616 processor and a 48V, DC MPS-488HP power supply for the MM-4XP loudspeakers. A new Allen & Heath iLive digital console has also been installed.

As part of the church’s complete renovation, Applied Video Technology, Inc. (AVT) in Malvern, Pa. supplied new video systems, including Digital Projection projectors, NEC monitors, Panasonic cameras, a Sony HD production switcher, and Crestron controls.

One of the largest Korean-language churches in the Northeast, Yuong-Sang Presbyterian draws its congregation from Korean-American communities throughout the greater Philadelphia area.

Meyer Sound

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Clear-Com Introduces New CC-300 And CC-400 Headsets

Clear-Com introduces the latest additions to its line of professional headsets, the CC-300 and CC-400.

The CC-300 and CC-400 offer extra comfort, better performance and more flexibility for users who employ intercoms for long hours. They are compatible with Clear-Com’s wide range of wired and wireless intercoms.

Wearing headsets day in and day out while communicating with other team members over the intercom can quickly exhaust a user. The new Clear-Com CC-300 single-ear headset and CC-400 double-ear headset were designed to reduce fatigue and accommodate individual preferences by offering a clear and comfortable audio experience.

The CC-300 and CC-400 headsets’ microphone booms can be rotated 300 degrees, allowing the microphone to be worn on the right or left side of the head. Users can also make the headsets larger or smaller by manipulating the slide adjustments on either side of the headband. In addition, the enclosed headphones have very soft padding and a slight rotation to provide a better fit.

The CC-300 and CC-400 headsets are equipped with hyper-cardioid dynamic microphones and high ambient-noise attenuation headphones that deliver balanced audio performance to the user. The acoustic isolation capability significantly reduces external background noise and with a clear audio profile, including an up to 20-kHz frequency response, the new headsets are made for professionals who demand high-quality sound.

The CC-300 and CC-400 headset microphones can be turned on and off by moving the microphone boom. Users need only to pull the boom gently downwards to turn on the microphone and push the boom gently upwards to turn it off, in effect giving them a quick and simple mute to their intercom system. 

Interchangeable cabling is another major benefit of the CC-300 and CC-400 headsets. Both headsets come with a standard four-pin female connector, but users can easily change the cable and connector at the base of the headset by using a Phillips screwdriver in order to accommodate different connector types. The same process can be used to repair and replace a damaged cable on the fly.

“Busy crew members need a headset that they can slip on and immediately feel the difference in fit and performance,” says Stephen Sandford, Product Manager, Clear-Com. “The Clear-Com CC-300 and CC-400 deliver by providing long-lasting comfort and high-quality audio, and can be used in conjunction with virtually all of our intercom solutions.”

Clear-Com

 

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Rational Acoustics Announces Upcoming Smaart Training Classes

Rational Acoustics has announced several new Smaart classes in its 2012 training schedule.

May 21-22, 2012 in Kerkrade, Germany.  This 2-day Fundamentals & Applications class will be hosted by Rational distributor AudioTec at the AD Systems facilities. It will be taught in German by Michael Haeck. Interested attendees will need to contact AudioTec directly for pricing, registration and logistic information by e-mailing .(JavaScript must be enabled to view this email address).

May 22-24, 2012 in Paris, France.  This 2-day Fundamentals & Applications class will be hosted by Rational distributor Haliotis and will be taught in French. Instructor TBD. Interested attendees will need to contact Haliotis directly for pricing, registration and logistic information by e-mailing .(JavaScript must be enabled to view this email address).

May 29-31, 2012 in Toronto, Canada.  This class will be hosted by Rational distributor SF Marketing and will be taught by Arthur Skudra, following the standard 3-day training format with Days 1 and 2 covering Smaart Fundamentals and Applications and Day 3 as the optional Practicum.  Interested attendees will need to contact SF Marketing directly for pricing, registration and logistic information and can register online.

May 29-31, 2012 in Manchester, UK.  This class will be hosted by Rational distributor Wigwam Acoustics and will be taught by Jim Cousins following the standard 3-day training format with Days 1 and 2 covering Smaart Fundamentals and Applications and Day 3 as the optional Practicum.  Interested attendees will need to contact Wigwam directly for pricing, registration and logistic information by .(JavaScript must be enabled to view this email address).

Don’t forget these previously announced classes:
June 18-20, 2012 in Las Vegas, NV
June 27-29, 2012 in Quito, Ecuador
July 2-4, 2012 in Lima, Peru
September 18-20 in Irvine, CA

Further information and registration details on all classes listed above can be found on the Class Schedule page of the Rational Acoustics web site.

In addition, Rational Acoustics Rational Acoustics will be exhibiting at the upcoming InfoComm show in Las Vegas, Nevada from June 13-15, 2012.  We will be located in the Central Hall, booth #C11346.  The latest enhancements to Smaart v.7 and various other peripheral measurement products accessories like the Smaart I-O and the Noise Stick will be on hand.

Jamie Anderson will also be presenting two sessions for InfoComm University on Thursday, June 14th.  The first is Session #IUX07: “Smaart Application: Reading the Phase Trace” which will run from 8:00AM to 12:00PM.  The second is Session #IUX10:  “Smaart Application: Spatial Averaging, or Measuring Something that Doesn’t Exist” which runs from 12:30PM to 4:30PM. 

Rational Acoustics

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Basic Principles For Suspending Loudspeaker Systems

A few terms and techniques for hanging loudspeakers

Excerpted from JBL Professional Technical Note Volume 1, Number 14: “Basic Principles for Suspending Loudspeaker Systems.”

Design Factor
Design factor is a term used by the rigging industry to denote theoretical reserve capability.

The rated capacity / of all lifting and hanging equipment b based upon the nominal strength of the equipment reduced by the design factor.

Design factor is a number representing the fraction of equipment nominal strength chosen to be appropriate for the particular application.

Rated Capacity = Nominal Strength / Design Factor

Example: Design factor = 5. The rated capacity of equipment is only l/5 of its nominal strength.

Minimum design factors vary according to the application, and may be regulated from location-to-location.

No design factor discussed herein should be assumed to represent a recommendation on the part of JBL.

Users must assume all responsibility for the determination of design factors suitable for local conditions.

Shock Loading
When a load is suddenly moved or stopped, its weight may be magnified many times the original value. This is known as shock loading. Shock loading of lifting equipment should be avoided at all times.

Shock loads will usually be instantaneous and may go undetected unless equipment is visibly damaged. No equipment is designed to compensate for poor rigging practices or foolish planning, however.

Every tool and piece of equipment has limitations. Safe working practices demand that these limitations he known and fully understood, and that they never be intentionally exceeded.

A 900 pound loudspeaker cluster dropped four inches cod cause a shock load of 4500 pounds if the rigging were attached to rigid structures and of a material that would not stretch.

However, because all rigging will stretch under shock loading, the exact shock load on a piece of equipment isn’t easily predicted.

To protect people and property, all tools and equipment should be limited to stresses that are several times smaller than their minimum breaking strengths.

Although shock loading of equipment and structure is usually confined to lifting and installation, it should also be recognized that other forces (such as earthquakes) can impose shock loads upon structures many times that of the static load.

It is therefore imperative that hardware and structures be capable of supporting several times the weight of the equipment being hung.

Center of Gravity
The center of gravity of an object is the point at which the weight of the object acts as though it were concentrated. It is the point at which the object may be completely supported or balanced by a single force.

The center of gravity of a regularly shaped object may be estimated fairly accurately by determining its approximate center.

Finding the center of gravity of irregularly-shaped objects can be more difficult, but it is necessary, nevertheless. A load will always hang from its attachment point through the center of gravity. It is important to visualize this before making a lift.

All loads to be lifted should be rigged above the center of gravity in order to prevent tipping and possible hazards to equipment and workers. The lifting force should always be located above the center of gravity and exert a straight vertical pull to prevent swinging of the load.

Ropes
Before discussing actual rigging hardware and systems, it is appropriate to examine ropes and their proper use. Ropes are used for many rigging functions.

Although synthetic ropes of great strength are available, most codes prohibit their permanent use in rigging for a variety of good reasons. Nevertheless, ropes are necessary to lift approved cables, fixtures, tools and equipment into position.

In the interest of safety it is important that ground workers be familiar with the proper use of rope and a few basic knots used in rigging.

Rope Terminology:
1. The Standing Part is the end of the rope which is inactive.

2. The End is the part of the rope that is free—typically the part in which knots are tied.

3. A Bight is the central part of the rope between the standing part and the working end.

4. An Overhand Loop is formed by crossing the end over the standing part.

5. An Underhand Loop is made by crossing the end under the standing part.

6. Tightening. Once formed, a knot must be tightened slowly and with care. Failure to do so could result in a tangle, or an untrustworthy knot.

Knot Efficiency
Knot efficiency is the approximate strength of a rope with a knot as compared to the full strength of the rope.

It is expressed at a percentage of the ropes rated capacity, and refers to the stresses that the knot imposes upon the rope.

When a knot is tied in a good rope, failure under stress is certain to occur at the knot. This is because bends result in uneven stresses upon the fibers, with the outsides of the bends taking a greater share of the load.

lt follows that the tighter the knot, the greater the percentage of the total load that is carried on fewer fibers.

Bends
Bends are used to join two pieces of rope, usually temporarily. Typical knot efficiency is 56%. Bends offer some advantage over binding knots, as they resist untying when slackened or jerked.

The Sheet Bend is a simple knot to tie, consisting of an overhand loop on one piece, with the second rope end fed up through the loop from behind, around the standing part of the first rope and back down through the loop from the front.

Binding Knots
Binding knots are also used to join two pieces of rope. In general, binding knots have a knot efficiency of 50%, but can untie easily when a free end is jerked.

In the square knot, the end and the standing part of each line tie together through the bight of the other. In the untrustworthy granny knot, the end and the standing part are separated by the bight.

The granny knot is particularly treacherous in that it will appear to be secure-only to slip under load. The thief knot is deceptively similar to the square knot, but has the two loose ends coming out of the opposite sides, instead of from the same side as in the square knot.

This knot is almost certain to fail under load.
Loop Knots
Loop knots are used to hold objects where security is of paramount importance. The bowline, widely used in rigging, won’t slip, yet is easily tied and untied.

It may be tied in the hand or used as a hitch and tied around an object, usually for lifting purposes (Figure 2 in the PDF below).

Hitches
Hitches are used for temporary fastenings that untie readily. They are generally tied directly around the object instead of first being tied in the hand and then placed over the object.

Hitches must be drawn up tight, as they have a tendency to slip if loose.

The clove hitch (Figure 3 in the PDF below) consists of two underhand loops, which may be tied in the hand and slid over an object at any point along the length of a rope. Knot efficiency is 60%.

Wire Rope
Vast wire ropes are constructed from plow steel, improved plow steel, or extra improved plow steel wire. The wires are woven into strands, which are woven to form the wire rope.

Typical wire rope may consist of six strands wound around a central core. The central core supports the outer strands and helps to prevent the rope from crushing under stress.

Wire rope core materials may be fiber (abbreviated FC), independent wire rope (abbreviated IWRC), or wire strand (abbreviated WSC).

Wire rope is classified by diameter, number of strands, number of wires making up each strand and core material construction.

Rope diameter is measured at its widest dimension. Wire rope is also classified according to the direction the strands and wires are twisted. The distance along the rope required for a strand to make one full revolution is one Lay.

In Right Regular Lay construction, strands twist to the right, wires twist to the left.

Right Lang Lay construction finds both strands and wires twisting to the right.

Left Regular Lay ropes are constructed with strands twisted left and wires twisted right.

The Left Lang Lay configuration twists both strands and wires left.

Regular lay ropes are less susceptible to crushing and deformation because the wires lie nearly parallel to the rope. Lang lay ropes twist the wires across the direction of the rope, and are therefore more flexible and resistant to abrasion damage. If both ends of a lang lay rope are not fixed, however, it will rotate severely when under load.

Most sound and stage rigging requirements are easily handled by two wire ropes: 3/V and l/2” 6 X 19 IWRC classification.

These ropes in improved plow steel have a nominal strength of 13120 pounds and 23000 pounds, respectively. If we assume a design factor of 5, rated capacities become 2600 and 4600 pounds.

Just as knotting a fiber rope reduces the nominal strength of the rope, bending of a wire rope also results in a reduction in its nominal strength.

The tighter the radius of the bend in the rope, the greater percentage of the load is concentrated on fewer wires and strands. This results in a reduction in the rope’s nominal strength and rated capacity.

Experienced riggers always pad beam edges with softeners before wrapping the beam with a sling, and avoid sharp or jagged edges that could possibly injure the wire rope or sling. Heavy burlap or thick polyester is usually used for this purpose.

Excerpted from JBL Professional Technical Note Volume 1, Number 14: “Basic Principles for Suspending Loudspeaker Systems.” Copyright and courtesy of JBL Professional. To continue reading and to see he referenced diagrams, feel free to download the PDF.

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Monday, May 14, 2012

Symetrix Announces Release Of SymNet Composer DSP Configuration Software

Symetrix has announced the immediate release of SymNet Composer installed sound DSP configuration software. It will be on display at the upcoming 2012 InfoComm show in Las Vegas, booth C10331.

When performing basic Edge hardware configuration, Composer automatically identifies the type of audio I/O module installed in each of the Edge frames’ four I/O card slots (up to 16 channels of local audio).

When connecting multiple Edge frames via Dante gigabit network audio (up to 128 channels total), quick and easy network management is accomplished entirely within the SymNet Composer programming environment.

A fully open architecture application, Composer’s fast and fluid navigation accelerates the audio path design process. System designers exercise complete creative control selecting from a library of over 600 proven DSP processing, routing, mixing, and special purpose modules.

A designer’s proprietary Super-modules (complex blocks of multiple DSP modules and routings) can be exported from or imported into Composer and re-purposed in future projects.

SymNet Composer’s Event Scheduler automatically changes presets at pre-determined dates and times using a familiar Outlook-style calendar. If desired, hardware clocks can be set to sync to network time protocol (NTP).

Composer also configures the Symetrix ARC series of wall panel remotes along with the zero-cost embedded ARC-WEB for wireless control of Edge hardware using Apple and Android mobile devices.

With Composer, any chosen set of controls (i.e. faders, mutes, selectors) can be consolidated and exported to create custom technician or end user virtual control panels from a program called SymVue. There’s no scripting language to learn, no time-consuming graphic design.

Composer supports third-party RS-232 or Ethernet control devices with Symetrix’ human-readable external control protocol.

“DSP is deep in Symetrix’ DNA. Edge hardware, paired with Composer software, is our most exciting commercial audio product yet,” says Paul Roberts, Symetrix vice president of sales and marketing. “Announcements regarding additional audio input/output modules for Edge, as well as on-line training and certification for SymNet Composer, are slated for the very near future.”

The Symetrix technical support staff is available for remote design assistance and in-person training at .(JavaScript must be enabled to view this email address)

Symetrix

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Powersoft Welcomes Matrix Sales As New Distributor For Denmark

The company Matrix Sales has been appointed as the new Powersoft distributor for Denmark.

Matrix Sales is part of the newly formed Matrix Group, made up of several well established companies working together to provide complete solutions for the touring, permanent installation and MI markets.

The Matrix product portfolio covers everything from high end professional audio, concert lighting, staging, cables and accessories and features brands of the calibre of Midas, L’Acoustics, Shure, DB Technologies, Coemar, Proel and Aviom.

The group is also related to some of the most established rental companies in the region.
“We are happy to welcome Matrix Sales into our ever growing team of international distributors.”  - says Steve Smith, Powersoft’s Touring Account Manager – “Matrix is an interesting proposal for us, having the drive and enthusiasm of fresh, growing company while featuring some highly experienced and well established elements.

“We are considering this to be a re-boot for us in the Danish market and through this powerful partnership expect 2012 to bring some excellent results.”

Kenneth Bremer, CEO at the Matrix Group states, “One of our key issues at Matrix is quality, both in terms of sales, service and the products we work with - to offer customers the right solutions and ensure a continuously high standard is the backbone of our company.

“Powersoft has precisely these properties and offer highly sophisticated products enhanced with proprietary technology. Powersoft is a strong brand and fits perfectly in our portfolio. It really is Italian engineering at its best and we look forward to offering our customers spicy Italian amplifier power!”

Morten Uldbaek, Pro-Audio Sales Manager at Matrix Sales added “It is a pleasure to be able to add Powersoft to our product portfolio. Saving space, lowering power consumption and the possibility to have complete software control and protection are some of the key features that will enable us to meet the high demands of the touring and install markets.”
The official launch of the new partnership will be at the Monitor Expo show in Copenhagen from the 30th of May to the 1st of June. Both Powersoft and Matrix will be present at the show to showcase the complete range of Powersoft amplifiers together with the Armonía software.

Powersoft
Matrix Group

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Church Sound: Helping Vocalists Master Their Monitors

Putting too much stuff in the mix for a vocalist only causes confusion

 
Let me start off by saying that Tim Corder has done a great job of writing about monitor mixing. He has several posts tailored for various musicians and even went so far as to include audio examples.

If you haven’t already read them, you should. Tim wrote about building IEM mixes for Electric, Bass, Drums, Keys, and Lead Vocal. Check it out when you have a few minutes.

With that said, I was thinking about helping vocalists set up a useful monitor mix, particularly on a wedge. Though we hope to be putting the band on IEMs soon, the vocalists will stay on wedges for some time.

I was talking with our worship leader about helping the vocalists—all of whom are volunteers—set up better mixes. In my experience, setting up a good monitor sound for a volunteer vocalist is one of the hardest jobs in church audio (perhaps all of audio for that matter), mainly because they often don’t really know what they need.

Most vocalists tend to think they need the entire band in their wedges, all mixed to sound like a CD. While a professional singer (who recorded the CD in the first place) might be able to get away with that, I’m not convinced that technique serves the volunteer vocalist. So here’s what I recommend.

I’ve been using this technique for a good many years, and it was confirmed a few years ago by non other than Robert Scovill during a session I attended (with Tim, incidentally) at the Willow Arts Conference.

I’ve found that putting too much stuff in the mix for a vocalist only causes confusion. The more we put in their wedge, the harder it is for them to sing on pitch—because it’s a lot more for the brain to process. So I suggest, and Robert concurs (hmmm, probably should be the other way around) that vocalists need three, maybe four things in their wedge:

—Tempo reference
—Pitch reference
—Their voice and (optionally)
—Harmony reference

Tempo Reference

This could be snare, kick, hi-hat or perhaps overheads. It doesn’t need to be (and arguably should not be) a complete drum mix. Which part of the drums they need for time will depend on how the drummer plays and what songs they are doing.

In the end, all they need to know is the tempo. Personally, I like hi-hat for this because it’s up and out of the vocal range and thus easy to pick out. It’s also subtle enough that it doesn’t overpower the mix. Your mileage may vary.

Pitch Reference

Again, depending on the band and orchestration, this could be piano, keys or perhaps a guitar. Also again, it should not be all three. Whatever the source, it should provide pitch and key reference. And that’s about it.

Their Voice

One might think this is the most important element—and it is. Singers need to hear themselves. In fact, what is most typically asked for in a monitor mix? More me. The challenge of course, is that if the whole band is in their wedge, we have to put a whole lot “more me” in there so they can hear themselves.

Then they sound unnaturally loud (at least to their ears), so they ask for more of everything else. Which leads to another round of “more me.” Stripping the mix down to Tempo, Pitch and themselves makes it easier to keep levels under control and gives the vocalist what they need.

Harmony Reference (optional)

If you have a group of singers who are singing harmony together, it is sometimes helpful for them to hear the other parts of the harmony. Use this sparingly, however, as it’s really easy to get into an out of control level situation again.

Vocalists need to spend some time learning to hear their voice. It’s a matter of training on their part. By the same token, we can help by not giving them more than they need (which ultimately confuses them).

Now we know what they really need; how do we convince them that this is actually good for them?

Talk to Them

Sounds crazy, I know. However, too often sound engineers will stand behind the board at front of house (or monitor world) and try to convince someone on stage they need this or that. I suggest this is a poor way to go.

Get out from behind the board, walk up to the stage and have a conversation. Don’t take the tack, “I’m the sound guy, I know best,” or “I read this on some really smart guy’s blog,” (let me know which one it was, by the way…).

Rather, come at it as a suggestion. Note that you’ve noticed that they often are struggling with the monitors. Offer an option to try something new that you think might help. Ask them to try it for a few weeks to see how it feels.

Give them some rationale for your technique, then work really hard to make it work for them. Seriously folks, if our bands know we’re working really hard to serve them well, it won’t even matter if it sounds better or not. They will come around.

Show Them

I once had a really hard time convincing vocalists to hold their mics closer to their mouths than their navel. I tried all kinds of things: Explaining the inverse square law (met with blank stares); turning down their feed in the monitors to make them sing louder (didn’t work); motioning with an imaginary microphone (resulted in very confused looks).

Finally, during a break, I picked up the talkback mic and demonstrated it. Near…far. Near…far. I talked close to the mic, and far from the mic. They instantly heard the difference and they all held the mic properly after that.

Same concept here. After you’ve talked with them, set up a mix the way you think it should be. Then have them try it. Point out to them how much easier it is to hear the pitch, tempo and their own voice with a simpler mix.

Often, it takes just one song for the lights to go on in their heads.

Get Worship Leader Buy In

Sometimes, you really need the worship leader to have your back. Again, a lot of this comes from relationship. If you have a good relationship with your worship leader, you can talk with him or her and come up with a plan. If they get the concept, if you have to you can push it through.

When we changed from wireless IEM to Aviom at Upper Room, I spent a lot of time talking that change through with our worship leader. He agreed with the switch, and when I asked how he thought the band would react, he said, “They’ll use whatever we give them. It’s not up to them.”

He didn’t say that with arrogance, but with the understanding that the band is not in charge. As the worship leader, it’s incumbent on him to make the good calls; not in a vacuum, but ultimately, it’s his call.

So give that a try. And remember, if they continue to resist, you are the one who turns the knobs…

Mike Sessler is the Technical Director at Coast Hills Community Church in Aliso Viejo, CA. He has been involved in live production for over 20 years and is the author of the blog, Church Tech Arts . He also hosts a weekly podcast called Church Tech Weekly on the TechArtsNetwork.

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Renkus-Heinz Continues To Expand Engineering Department

Renkus-Heinz has announced the continued expansion of its engineering department with the addition of Alejandro Fidalgo.

Fidalgo will work within the engineering group to continue to develop advanced digital processing and transport technologies for Renkus-Heinz products.

He will report to engineering manager Tim Shuttleworth and will be based at the company’s Foothill Ranch, CA headquarters.

Fidalgo joins Renkus-Heinz after working in audio electronics firmware and hardware development at Isaac Daniel Group in Burbank, CA. He holds a degree from the University of California, Santa Cruz.

“We’re very happy to welcome Alejandro to Renkus-Heinz engineering,” says Tim Shuttleworth. “His expertise in developing complex digital audio technologies is a great fit for our team.”

“I’m thrilled to be working with a company like Renkus-Heinz,” Fidalgo adds. “This company has such a long history of making great products, and I’m really excited to be able to contribute to the next generation of Renkus-Heinz technologies.”

Renkus-Heinz

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Friday, May 11, 2012

Church Sound: How To Win Over The Three Typical Problem Musicians

Working behind the mixer is more than mixing and doing the technical work

 
One of the hardest parts of our job is mixing sub-optimal sounds. 

The frustrating part is when it’s the fault of a musician and you and I don’t have the authority to say anything. 

Don’t misunderstand me…I’m not saying I demand professional level musicianship from the band. 

I’m saying there are times when they need to be better.

Let’s back up…

Recently, some articles have been focused not on the technical aspect of your work but on the human aspect of what you do. The first was a guest post from my pastor on his view of church audio and the roles of sound techs. The second article focused on how you can enlist the worship team to help you after the service. 

Keeping with the theme this week of purpose and teamwork, let’s look at working with problem musicians.

This month, I’ve received quite a few emails from people asking how they can deal with problem musicians. Mind you, these usually aren’t musicians who are intentionally causing problems. They are musicians, singers included, who have adopted poor habits or aren’t able to perform at the level expected of them. 

The result is you and I have a harder time creating a solid mix and the congregation suffers.

But what can you do?

As the sound tech, you don’t have authority over the worship leader or the musicians. You can’t tell them what to do or how to do it. That is to say, not in the ways that are usually ascribed to those in leadership. There are ways you can help, however, as you’ll soon learn.

My experiences

I’ve seen a few problem musicians myself. Thankfully, it’s been a long time since I’ve seen any more. But looking back, all of the problems could easily be corrected when the right steps were taken while keeping in mind their emotional well-being.

The three typical problem musicians

There are three typical “problems” I have seen with musicians. Their hearts are in the right place but they don’t realize the impact of what they’re doing.

1. The amp lover. The amp lover is the easiest to correct of the three. The problem they present is insisting their amp be the source of their audio feed (mic’d or not) all the while having it pointed at their knees and cranked too loud. 

They simply love their tone but don’t know how to make it work with the mix.

2. The stylizing singer. Singers are on the stage to do one of two things; lead the congregation or support the lead singer in the case of background singers. When they sing outside of their expected melody, then they are no longer leading or they are no longer harmonizing.

They simply sing more freely than they should and it’s hard on the other singers/congregation to follow along.

3. The double-duty musician. There are some musicians who can sing and play an instrument at the same time while doing both tasks very well. And there are those who can’t. A musician might say “God has blessed me with a great voice and a love for the [insert instrument] so I feel I should use both gifts at the same time.” Just because God blesses someone with two similar talents doesn’t mean he’s telling them to use both at the same time. 

Their heart is in the right place but when their double-duty results in doing one or both tasks poorly, then their sound suffers, other musicians have problems, and the mix suffers.

How you can change all of this?

Let’s start with the amp lover.

Your first level of assistance is showing them how they can point the amp up at their heads for a better sound.

Considering I’ve listed them in this article, it’s not going to be that simple. 

Let’s say the musician does move it but still cranks the amp. Or, they don’t listen to your recommendations.  Then what?

Talk with the worship leader. Explain the effect of the amp on the overall sound and its negative effect on the mix. 

More than likely, the congregation is already unhappy with the sound. Give them a week or two. If nothing has changed, record the next service and give them a copy of the worship set after the service.  They will hear for themselves how the amp is negatively affecting the mix and they’ll take steps to get that problem resolved.

Next, the stylizer.

Working with the stylizer is a bit harder. I haven’t found anything that I could say that would help. It was only in going to the worship leader that changes started to take place. Much the same way as with the guitarist, give them a copy of the worship set so they can hear the impact of the stylizer.

I suggest you go one step further. Recommend bringing in a vocal coach who isn’t someone who attends your church. Have that vocal coach attend a few services and then have them work with all of the singers.

This way, not only will the stylizer have a professional point out their issue and show them how to overcome it but the coach can help the other singers… and can’t everyone benefit from some level of professional instruction?

Finally, the double-duty musician.

This is the hardest of the three. Their heart is in the right place. My recommendation is that if you are good friends, sit down and have a heart-to-heart talk with them. A copy of the worship set might help but I’d focus on being honest with them.

You might say “whenever you sing lead for a song, your rhythm playing becomes inconsistent and the band feels it and the congregation hears it.”  Or, “whenever you sing while playing, your singing volume is all over the place and sometimes, whether you realize it or not, you’ll not sing a couple of lines when you sing harmony.”

I’ve had to deal with this issue with a musician and it took a long time until they finally accepted it and committed to doing only one of the two for each song.

If you don’t think this will work, talk with the worship leader about it.

One other option

Sometimes problems don’t need to be solved directly. Sometimes it’s a matter of having the person in the right mindset to see what they need to change. Consider having a bible study with all the tech crew and the musicians together with a study on worship. 

The result of the study can be an evaluation by each person as to how they work on the worship team to promote worship by the congregation and what they can do to improve.

In conclusion

Each of us, whether on the tech crew or on the worship team, are working for the congregation. Our goal is for them to worship completely and without distraction. Working behind the mixer is more than mixing and doing the technical work. It’s also about helping everyone reach that goal.

And, if you bring up one of these issues with the worship leader and it’s not dealt with over time, let it go. It’s their job to shepherd and lead the worship team, not yours.

Ready to learn and laugh? Chris Huff writes about the world of church audio at Behind The Mixer. He covers everything from audio fundamentals to dealing with musicians. He can even tell you the signs the sound guy is having a mental breakdown.

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Adam Shulman Appointed As EAW Installed Systems Support Manager

EAW announces the expansion of its Application Support Group (ASG) with the appointment of Adam Shulman to the position of Installed Systems Support Manager, effective immediately.

The announcement was made by Jeff Rocha, EAW President, and further underscores EAW’s dedication to customer support and the ongoing development of market-driven products.

In this newly-created role, Shulman will manage ASG support for all permanently installed sound systems, while longtime ASG resource Joe Fustolo will focus on mobile production customers.

Rocha states, “Expanding ASG and bringing in a world-class resource like Adam, who is dedicated exclusively to the installation markets, further demonstrates our commitment to supporting our customers and partners.”

Increasing global demand for ASG service, particularly in overseas markets, necessitated the expansion. Jerrold Stevens, Director, EAW Application Support Group, adds, “Adam’s experience in system design, project management, acoustics, education and publishing all further enhance the team’s capabilities, helping us meet the growing demand for our services.”

Prior to joining EAW, Adam has served as a Senior Consultant and Project Manager for SIA Acoustics (New York, Los Angeles and India) since 2003. He has provided acoustical and technical system design for a variety of projects including performing arts spaces, recording facilities, sports venues and houses of worship. Projects of note include a production facility and 3,500-seat arena for Healing Place Church in Baton Rouge, LA, Oriole Park at Camden Yards, and The Pearl at the Palms Concert Hall in Las Vegas.

In a production context, Adam has also designed and operated sound systems for live events, including Central Park SummerStage, the Madison Square Park Music series and various special events domestically and internationally. As an educator, Adam has authored numerous articles for various trade publications, and presented at Broadway Sound Master Classes, Palme Asia, ShowWay Italy and Audio Engineering Society conventions.

Shulman notes, “I feel that I can bring my past experience as a consultant to bear on the varied types of design projects ASG handles, applying my technical knowledge combined with a practical understanding of how installation projects actually work.”

Members of the EAW Application Support Group, including Stevens, Shulman and Fustolo, will be on hand at InfoComm 2012 at the EAW booth (C10139) where they will reprise their popular ASGenius Bar – a coffee bar where designers, contractors and integrators can ask questions and review plans.

EAW

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Thursday, May 10, 2012

Church Sound: The Keys To Presenting Audio That Will Engage Your Congregation

A number of elements to tie up together

Producing great sound in a worship service can seem as elusive as finding a soloist who always sings on key.

However, this doesn’t have to be so.

Many factors influence the quality of sound: room acoustics, sound-system design and performance, operator experience, and quality of musical performance.

Here are some practical tips on how to tie all of that together to get the best sound.

Understand the Basics
To get the most out of a sound system, you must first understand how it works.

Basically, acoustic energy, or the sound you make, is converted to electrical energy via a microphone, then combine with other mics or input devices, and are then “colored” or equalized via a mixer.

The mixer sends the sound through processing equipment (crossover, equalizer, signal delay, usually a single DSP box), then to amplifiers to boost the signal. Finally, the amplified signal goes to speakers, where it’s transferred back to acoustic energy.

The key components of sound-processors, amplifiers, and speakers-should be professionally designed and set in a church, then left alone. The mixing board is where you should make adjustments in tone and sound levels.

Build a Sound Team
A sound system won’t run by itself. It needs a sound crew to function to its true potential. Some ideas on recruiting and developing a good crew:

I like to recruit one-on-one, much like a hunter who goes to the woods looking for a specific target. The hunter may see ducks, squirrels, and turkeys, but he sits tight for a certain kind of deer. When he sees exactly what he’s looking for, he pursues it with vigor.

Be the same way when developing a sound team. Decide what kind of people you need, and then recruit them vigorously.

You could also try the fishing-pond approach. That means recruiting candidates from a select gathering of people.

For example, when Marty O’Connor was at Willow Creek Community Church in South Barrington, Illinois, he and his video crew offered a yearly seminar on how to make great home movies with your camcorder.

After the seminar, the crew would bring out their studio cameras and invite seminar attendees to try operating one of the “big boys.”

All the while they’d look for people in that “pond” with special aptitude for working on a video crew. Then they’d recruit them. Members of a sound crew might be found through a similar approach.

Grow A Team
The acronym TEAM - meaning “Together Everybody Achieves More” - particularly applies to a sound crew. To be truly effective, team members must grow together on the job in knowledge and experience as well as in spirit and emotion.

Make sure that you provide spiritual, emotional, and technical food for sound-team members.

When I was on staff at a large West Michigan Church, every week, I spent about 30 minutes in prayer and devotions with my sound crew before our hour-plus sessions in sound training. That time helped unite us and focus our work.

It’s also important to keep the team informed of what’s happening in the sound industry, such as regular visits to ProSoundWeb and reading other industry publications and sites.

Finally, to encourage ownership and 100-percent participation, every sound-crew member should be encouraged to make suggestions about the sound system. I took seriously crew member suggestions on equipment purchases.

Thank the team. Saying thanks is powerful, but showing thanks is even better. My favorite way of showing gratitude to crew members was to send thank-you notes to them and their spouses.

Aim For Consistency
“We are what we repeatedly do,” Aristotle once wrote. “Therefore, excellence is a habit not an act.”

Doing everything right with sound in a performance is hard enough, but repeating it can seem impossible, especially when different volunteers are involved.

To raise the percentage of success, standardize the layout of your mixing console, label it, and then get everyone to conform to it.

Example: I always lay out my mixing console with drums on the left, followed by bass, electric and acoustic guitar, then keyboards, and finally vocals.

The lead vocal is always in the farthest right channel next to the subgroups and masters. I’ve been doing that for the past 25 years. My technical team follows this layout consistently.

How you lay out the board doesn’t matter as long as it’s logical and everyone follows it. The advantage of such a layout is that when something goes wrong or there’s feedback, you know instinctively what to grab to fix it.

Aim for consistency also with equipment storage. Organize cables, stands, and mics so that even with last-minute changes, such as having to work with five singers instead of the four you had planned on, you can secure the proper equipment to keep a rehearsal moving.

Preparation, Preparation
When I was on staff as a technical director, I was blessed with a worship leader who provided worship-service outlines weeks in advance. I used to kid him that the Spirit moved in him two weeks before it hit the congregation.

One lesson I learned from him is that someone who is well prepared is able to respond much better to last-minute complications than someone who wings it.

I have served as a consultant to churches that supposedly had sound system problems, only to discover that the real problem was poor preparation.

Example: A sound team shows up at 8 a.m. to set up for a 9:30 a.m. service in a temporary facility. By 9 a.m. the sound system is set up, and a CD is playing. Musicians begin arriving for a last-minute rehearsal.

The service starts seven minutes late. That’s bad enough, but what’s worse is that there has been no time for sound checks and input testing. The service proceeds, accompanied by hums, cracks, pops, and a lousy sound mix.

Ninety minutes later, the sound crew is exhausted, the musicians disgusted, and the pastor fed up. He decides to call in a sound expert.

He needn’t have spent the money. Preparation would have alleviated most of the problems.

Preparation means sending information to your team well in advance of a service. Email (or post on the church’s website) the order of worship for the Sunday service to crew members early in the week so they can get a jump-start on what they’ll need to do.

Preparation also means performing sound checks with musicians prior to the service and testing all microphones. Even if the same person leads worship every week, he or she may have a cold or feel insecure about a piece of music and need their monitor turned up.

The key is to show up early, anticipate the unexpected, and be prepared. You can’t be too prepared.

Provide Technical Training
Offer ample opportunities for your team to grow in technical knowledge.

Find a sound expert you respect and hire that person to come in two to four times a year to train your crew.

Team up with other churches to sponsor a regional conference on sound, like the HOW TO seminars.

Send for brochures and guides or reprint articles on sound for your crew.

Many manufacturers, such as Shure and Crown, provide free guides, and often, these are posted online for convenient download.

Encourage your crew to participate in focused online discussions about sound with online communities such as the Church Sound Forum here on PSW.

Lead your team by example. If you want your crew to be on time, be on time yourself. If you want others to keep the sound booth and related areas organized and clean, keep your areas organized and clean.

Encourage Relationships
To do its work well, a sound crew must work in harmony with musicians and pastors.

All too often there’s friction between sound technicians and performing artists. Some of that could be eased organizationally by including sound technicians in the church’s fine arts or music ministry.

The lead person of the technical team would report directly to the worship leader or minister of music—no one else. They would work things out, striving for communication and harmony.

Example: I saw how that could work at a recent sound seminar. A local worship leader and his worship team participated in a session I led titled “Mixing a Worship Team: A Live Demonstration.”

We purposefully had no rehearsal or sound check before the seminar. We merely tested the inputs to make sure they were working.

During the seminar, a conflict arose between the piano and keyboard players. The keyboard player wanted more of him in the monitor, and the piano player wanted less. The problem: they were sharing a monitor mix.

The worship leader let me know about the problem, and I told the players that since there were no more monitor mixes available, they should work out a solution together.

He led the players through a quick trial on the monitor until the players reached agreement. They reached harmony in less than three minutes.

Tip: The key was the worship leader’s willingness to tell me about the problem, and the opportunity I had to explain the setup limitations to the players.

I’ve discovered that when technical people are given the opportunity to explain a problem, performers are very cooperative.

Of course, technicians must never abuse that trust by blaming their mistakes or ignorance on equipment, or by refusing to listen to a musician who needs adjustments in a monitor.

Trust can also be destroyed by performers or technicians whose egos get in the way of working with others. In the sound booth or in front of a mic, the motto should be: “Check your ego at the door.”

I also know how important a good relationship can be between a technician and artist. I spent four years working with the same worship leader.

We had such rapport that we could communicate from sound booth to platform via hand signals.

When the worship leader put two hands on the mic, I knew I had to put more piano level in the monitor. Two hands with a raised index finger meant he wanted more voice. A step back from the monitor meant it was too loud.

The signals worked well because I kept my eyes on the platform, and the worship leader always made eye contact before signaling.

Serve Others First
If we serve others first, we have far less friction between sound technicians and performers. Here are some ways sound people can serve others to enhance their ministry to the church:

Show up early to set the sound equipment with enough time left to pray with speakers and singers before a service.

Provide little extras for platform participants, such as a glass of fresh, cold water near the lectern.

Take the pastor and/or worship leader out to lunch in appreciation for their support. Tell them how much you value their contribution.

Explain to singers or speakers what you’re doing to adjust their sound and why.

For example, tell them you’re moving a monitor two feet to the left so that the sound from the monitor is in the non-pickup area of the microphone and will thus give them a purer sound with less risk of feedback.

The Ultimate Goal
The sound ministry is like custodial service. When it’s done well, few will notice. When done poorly, everyone will notice.

Work as a respectful team, and you’ll find that your sound is consistently excellent, and you’ll have a great time to boot!

Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 25 years.

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Wednesday, May 09, 2012

Church Sound: How Do I Budget For Our A/V/L Needs?

Guidelines to help determine how to accurately budget for current and future needs

 
The modern church is becoming increasingly more dependent upon technology.

Whether it’s just a simple analog mixer for a children’s area or a full-blown computer-controlled audio, video and lighting system, one thing is for sure: Knowing WHAT you need is not nearly as important as knowing WHY you need it.

Rick Warren’s Purpose Driven philosophy is a powerful reminder that if we’re not careful, we’ll allow the tyranny of the urgent to drive all of our purchases.

Ultimately, A/V/L gear is only a means to an end; it is a tool to help us accomplish our ministry’s vision. Here are some suggested guidelines that will help you determine how to accurately budget for current and future needs:

1) Have a clear and concise understanding of your ministry’s vision. I like to ask the question “if we don’t do anything else, what must we do?” Pastors and elders usually have a clear direction of what they want the church to accomplish in your particular culture and geographical location. Knowing that vision will be a tremendous help to seeing it realized through the tech ministry.

2) Match equipment choices with your specific needs. If your ministry doesn’t require all the features of a particular piece of equipment, weigh the options. Don’t get captured by “it will do this, and this, and this!” from a salesperson. Features are great, but it’s best to only get the features you need.

For example, line array loudspeakers are all the rage in sound systems right now. Line arrays are great for the right room, but if your room doesn’t need them, then the rage might come from your congregation – mismatching a line array speaker system to a room can cause echoes, phase cancellation, comb filtering, decreased speech intelligibility and other unpleasant effects.

Another popular trend is digital consoles. They, too, are great tools, but only if you need their flexibility and have the budget for one.

3) Consider a full-systems approach. As excited as techs can get about a particular piece of equipment, piece-mealing a system can cost way more time, money, and effort that it should. Make sure you know what tools are needed to get the job done, both now and in the future.

Assess where you are and where you’re going, because being a good steward of your church’s resources may require a complete system upgrade or overhaul.

4) Get some help if you need it. Don’t be afraid to consult with someone who is qualified to help you make good decisions. T

here are several ways to get the info you need. Talk with your friends who are techs or worship pastors; they usually have valuable experiences to share.

Secondly, do your research. Read trade magazines like Church Production and use online resources like ProSoundWeb, which offers excellent forums where you can get useful advice from your peers.

Attend trade shows, like the hugely popular WFX Conference (coming to Atlanta this fall), which is a nuts-and-bolts event that provides a wealth of information through seminars, hands-on workshops and exhibits.

5) Be realistic with your expectations. Too often, a budget figure is just pulled out of the clear blue sky without any real basis.

There are three important components of a A/V/L system budget you need to consider:

—The actual “street price” of your equipment (this might be different when you buy a single piece of gear outside of a complete system);

—Shipping costs that can impact the bottom line, particularly on heavy items like loudspeakers, amplifiers, or a large mixing console;

—The technical assistance that is needed to install it. If you can do it yourself, then you’re golden. If your installation requires the help of an on-site integrator, you should find out how much it will cost ahead of time.

6) Use percentages and projections. If you’re in the planning stages of building a new facility, you can usually use a 10-15 percent figure to estimate what your complete audio, video and lighting system will cost.

For example, if you’re building a million-dollar building, then you can expect to pay between $100K and $150K to do it right. If you’re remodeling an existing facility and you have some gear that you can re-purpose, this percentage might be too high.

If you’re building more than a year down the road, then take into account that equipment prices might increase as much as 10 percent in that time based on global market fluctuations and the rising costs of raw materials.

7) Remember WHO you’re ultimately serving. We have a favorite saying about God’s provision: “If it’s God’s will, then it’s God’s bill.” That’s more than just a cliché; the truth is that if the Lord has directed you to do something, then He will make provisions to see it accomplished.

When you do a good job of consulting with others, researching your needs and understanding your goals, then you can trust Him to bring the funds that will see your vision realized.

Jeff McLeod is managing director and a certified church consultant for Church Audio Video.

Church Audio Video specializes in the design, installation and support of high-quality and affordable custom audio, video, lighting, broadcast and control systems for worship facilities. For more information, visit their website.

 

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First Baptist Church Upgrades With Stereo Pair Of Danley Jericho Loudspeakers

The parishioners at First Baptist Church of Goodlettsville, Tennessee are the first churchgoers to enjoy the fidelity, power, and clean, even coverage of a pair of Danley Sound Labs Jericho JH-90 full-range, point-source loudspeakers utilized in their new sanctuary sound system.

Professional Audio Solutions, Inc. designed and installed the first-of-its-kind project under the leadership of Scott Oliver, director of contracting and engineering. Once Oliver included the costs of labor and amplifier channels, he discovered that purchasing and installing a stereo pair of Jericho JH-90s would be less expensive – and far better sounding – than a conventional multi-box solution.

Like many churches, Goodlettsville FBC transitioned over the years from having only traditional services to offering a mix of traditional and contemporary services. Its old PA system consisted of a pair of two-way cabinets perched up among the organ registers, a location of convenience – not of ideal coverage.

“For a contemporary service, Goodlettsville was terribly under-powered,” observed Oliver. “You might say they didn’t really have a sound reinforcement system at all.”

Most of the direct sound from the instruments on stage came from their amplifiers or, for drums, the acoustic sound itself. Professional Audio Solutions won the bid based on its demonstrable record supplying churches with dimensional, engaging sound reinforcement systems.

Oliver had heard the Danley Jericho JH-90 output on several occasions, including demonstrations in a gym, in a sanctuary, and outdoors.

“The interesting thing that I noticed each time was that its clarity and depth gave me the impression of stereo vitality even when only one Jericho was in use,” he said.

Rather than approach a church sanctuary project as a live sound application, Oliver takes a different tack. He considers the sanctuary to be a critical listening environment, analogous to a studio control room or an audiophile home theater. Consistent with that, he almost always designs stereo systems, and he minimizes response-destroying interactions by using the minimum number of loudspeaker elements.

“People always ask why we install stereo systems,” he said. “To me, it’s like, why wouldn’t we? You enjoy stereo in a studio control room. You enjoy stereo in your car. Your television is stereo. Of course your iPod is stereo. Why would church be the only place you don’t get stereo?

“People rightfully point out that you can’t deliver stereo to every seat in the house. True enough, but if we can deliver stereo to eighty percent of the congregation and the remaining twenty percent doesn’t suffer for it, then why not? Stereo music makes for a decidedly more engaging worship experience.”

Goodlettsville FBC’s sanctuary is approximately 65-feet wide by 90-feet deep and 22-feet tall with a balcony in the back. Oliver modeled the room in EASE and considered a range of scenarios consistent with the “critical listening environment” perspective. There were a lot of good solutions, but the simplest and least expensive to install would be a pair of Jericho JH-90s.

“The Jericho is a truly full-range box,” he said. “No subwoofer is needed except when the music format calls for sub 30Hz extension. We were able to install the entire system in just a day-and-a-half, and because the Jericho is a true point-source box, we didn’t have to fuss with precise angles. It was simple, and the client was able to sink money into the product, not the black hole of labor.”

Six Crest Pro 200-Series amplifiers power the system, with DSP provided by a Xilica XP 4080. In addition, Oliver used a pair of Danley’s smallest speakers the, SH-Minis, for choir monitors.

Measurements of the installed system confirm the EASE predictions. The coverage is even from the front to the back and from wall to wall.

“The Danley Jericho delivers the motivating requirement of the line array system – even SPLs front to back – but because it is a point source, it achieves that even coverage without the fidelity-destroying interference typical of line array components,” explained Oliver. “It has 100dB of clean dynamic range and absolutely phenomenal fidelity. It’s like sitting behind an SSL console and listening to a perfectly aligned pair of Westlake in-wall reference monitors. The pastor’s voice is right in front of you. You can almost see the image of an acoustic guitar floating five feet away, fret noise included.”

Oliver enjoyed a lot back slapping and hand shaking after the first service with the new Jericho Horns. Already, Oliver is working with another church near Atlanta that wants the same system.

“A pair of Danley Jericho Horns will ably cover sanctuaries of 1,000 seats all the way up to 10,000,” he said. “We’re looking forward to making this a new model for churches that really want great audio performance. A system with just two Danley Jericho JH-90s is easy to design, straightforward to install, and, given its phenomenal performance, surprisingly affordable.”

Danley Sound Labs

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