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CHCC Rennovation: Main PA and Lobby

Because of the cool rigging bar, we only needed two pick points to fly the array and get the angle we needed. Gotta love good hardware.

Because of the cool rigging bar, we only needed two pick points to fly the array and get the angle we needed. Gotta love good hardware.

By now it should not be news to anyone that we put in a Bose RoomMatch PA in Coast Hills. I have taken no small amount of flack for that decision, but I stand by it, especially now that we really have it dialed in. As I’ve said before, there are other PA’s that we could have used, but none fit the budget and provided the directivity control RoomMatch does. And in that room, we really need control.

Asymmetric and Symmetric Boxes

As far as I know, we are one of the first installations to use both types of boxes in the arrays. Now, I should point out that RoomMatch may look like a line array, but it’s not. It’s billed as a Progressive Directivity Array. That means each box covers a specific part of the seating area. There is some combining at lower frequencies, but for the most part, the boxes don’t interoperate much. 

Because of that, we were able to mix and match boxes for a very specific design. I wanted to provide some sense of stereo imaging across a wide chunk of seating in the middle, and keep as much sound off the walls as possible. To meet those goals, we used boxes that were narrow on the outside and wider in the middle at the top of the array. The arrays are mirror imaged and the coverage is indeed pretty tight.

I do love a good rack. Amp rack, that is...Get your mind out of the gutter.

I do love a good rack. Amp rack, that is...Get your mind out of the gutter.

Keep The Colors Straight

Apparently, when I wired up the arrays, it was dark and I was tired. I inadvertently wired a few NL4s wrong and we had some phase issues initially. But once we got that sorted out and began the tuning process, it was all fun. 

A couple of guys from Bose came down and started taking measurements throughout the coverage area. They averaged those together and we came up with a room curve. Interestingly, the curve they came up with was shockingly similar to the one I put in using a LAMA transfer function with the measurement mic at FOH. 

We ended up with about 4 filters in the system, and two of them are there to tame room anomalies. Otherwise, the system sounds really good out of the box. We did a little gain shading in the amps to dial out some summing that was happening with the LF elements in the arrays, and to compensate for the air loss at the HF end. But otherwise, the system is pretty flat. 

Stereo Imaging for Days

I really wanted to have an LR system, but didn’t expect to get great stereo imaging. I was surprised to be wrong on this point. Throughout almost the entire center four sections and much of the back outside sections, there is an excellent sense of stereo. We played a bunch of tracks through the system and each time we kept looking at each other saying, “Wow, the stereo field is amazing!” It’s some of the best I’ve heard in a live PA. 

But vocals image right in the center where they should and speaking sounds fantastically present. So I’m very pleased with that. Time will tell if they really utilize the stereo image as well is can be, but it’s nice to have it available. 

This is a terrible photo of the subs. but you get the idea.

This is a terrible photo of the subs. but you get the idea.

Big Bottom

The system also has four dual-18” subs in a cardioid pattern flown over the center of the proscenium. They are in a 2x2 arrangement and once we got the timing right, it’s pretty remarkable how little low end there is on stage. But throughout the whole seating area, there is plenty. We ended up dialing those back a little bit because Coast Hills has never been thumping the bass. There’s headroom there, however, should the new style of worship desire more bass. 

Because the main boxes go down so low, the subs are really only working at the very low end, just like they are supposed to. Off hand, I don’t recall where they are working, but I believe it’s from about 30-90 Hz. 

Good Lobby Sound

For the last 5 years I’ve been frustrated by the sound in our lobby. It was terrible, really. We had a bunch of ceiling speakers mounted in the walls. Under the best of conditions these won’t sound good, and these were not good conditions. 

I spent a little more money in the lobby than I ordinarily would have, but I’m glad I did. We hung four RU8 Utility Speakers from Bose up in the corner where the wall meets the ceiling. The RU8 is a dual 8” plus a horn configuration, and it’s driven by a PowerMatch 8250. The 8250 puts out 250 watts into 8 channels, so each speaker is powered individually. I went with 8 channels because someday, they want to blow the front of the building out and put speakers out front. So they have 4 channels to expand into. 

I didn’t have time to do any tuning of the lobby speakers, but I thought they sounded acceptable out of the box. At some point, I want to go in and play with the Smaart rig and tweak them a little bit, but for starters, it works. My choice of Bose speakers for the lobby was based on the idea that I wanted them voice matched to the mains. As you walk in from outside into the lobby, then into the sanctuary, it just keeps getting louder, but it sounds the same. I think we hit that goal. 

Overall, I’m very pleased with the system. It has enough headroom to get really loud if they want, but it sounds clear at lower volumes. It’s very present without being harsh and has a nice, warm low end that doesn’t mask the midrange. And the lobby sounds good. That’s a win in my book.

Roland

CHCC Renovation: The Lobby Video

It's gratifying to know that the video was done before the floor was!

It's gratifying to know that the video was done before the floor was!

For the last 10-15 years, the Coast Hills lobby has been the home of some really high-tech video. A pair of 27” CRT displays flanked the doors to the sanctuary. They were fed by—wait for it—RF modulated video, originally from the Panasonic MX-50, which was all composite. Yeah, it looked awesome. 

A few years ago, we upgraded to a Ross Crossover Solo, but I didn’t update the video because it kept getting cut from the budget. Thankfully, we had a flood. One of the CRTs was destroyed (Yes!) and the other mysteriously stopped working. Hmmm…

So it was time to update when we re-did the lobby. Somewhat on a lark, I did a Sketchup design of the new lobby to help leadership visualize what was being discussed. In that design, I stuck four 55” flat screens on the side walls, and four 42” flat screens in front of the doors for digital signage. We ultimately trimmed down to two screens on the right of the lobby, but that was it. 

TV Locations Left Side.jpg

Routing Needed

The previous CRTs were fed the same signal from a DA. I wanted to be able to address each screen individually. That meant a matrix switcher. I spent a fair amount of time going back and forth between which one to buy and ultimately decided on a Blackmagic Compact VideoHub, a 40x40 SDI matrix. When I installed it and fired up the software, I immediately regretted it. The software is very flaky and after 3 hours, I never did get VideoHub Control to work. Thankfully, the other VideoHub software works, though only through USB. While it will work, I will not likely use any more of their products. The bitter taste of poor implementation lingers long after the sweetness of the low price is gone. Next time, Ross or For-A.

Anyway, each TV in the lobby—and the building for that matter—is its own destination on the router. That means we can route program, ProPresenter, or any of our four digital signage channels, or any other source to any TV. The wiring is more complex, but the flexibility it provides is pretty great. 

Digital Signage Choices

I looked around at plenty of options for digital signage. We could have used ProPresenter with a couple of Dual Head2Gos; or AppleTVs or even four Mac Minis with Keynote. But I settled on DigitalSignage.com. They provide signage for many restaurants, hotels and other retail venues. It’s not the most elegant user interface, but it is very powerful. There are robust scheduling rules that make it possible to come up with really custom signage for each event during the week. The service is free, and they sell custom-built players. We went with the MediaBox 200, which is basically an Intel NUC with a Core i3 processor and dual HDMI outputs. 

Two of them give us access to four channels of digital signage. It’s all accessible from the web, so it’s easy to manage. The only trouble we had was with our firewall. We had to assign static IPs to each MediaBox and open up those ports so they could communicate with the cloud server unencumbered. 

Again, time will tell if that was a good choice or not, but I can report that their tech support is pretty good and the system does work as advertised once it’s configured correctly. 

Monitor Options

While you can go to Costco or Amazon and buy a cheap display for your lobby, we chose to buy LG commercial grade displays for our install. The cost is about 30%-40% more, but the power supplies are more robust, and the displays are warranted for use in commercial installations. If the display was only going to be used occasionally, or was for a weekend only use, I would likely go consumer grade. But these will be on 10-12 hours a day, 7 days a week, so they need to be robust. They can also be controlled via RS-232 if you like.

As the router is SDI, and the displays take HDMI, we had to convert. I used the Monoprice HD-SDI to HDMI converters for this job. At under $100 each, they are the most budget-friendly options around, and they seem to work just great. I’ve had one around for testing for over a year, and we’ve had no issues with it. My guess is we’ll have the occasional power supply go bad on them, but we’d have to replace all of the 3-4 times before it would have made sense to go with a more expensive option. I don’t think that will happen in the next 5-7 years. But I could be wrong…

So, that’s the lobby. Next time, we’ll talk about the PA and the lobby speakers.

“Gear

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Gear Snobs

Audio guys can be snobs when it comes to gear. But the reality is, we can’t always have our favorites. Sometimes, it’s a simple budget issue. For Coast Hills, we didn’t have the budget for Meyer, d&b or L’Acoustics. If I had held out for those brands because they have more cachet, we would not have a new PA at all. The money is just not there. But the church can afford RoomMatch. And having heard it, and after some considerable evaluation, I’m convinced we haven’t sacrificed that much. 

Is RoomMatch as good as a L’Acoustics Kara rig? Maybe not. Will the average person notice a big difference between those two? Probably not. Will the average person notice the upgrade from what we had to RoomMatch? Absolutely. I’ll take that outcome over no change at all.

Be Open

Lighting guys can be snobs, too. Some will say, “If it’s not Varilite, it’s not in my rig.” Or Martin. Or High End. Whatever. In the past, we’ve rented about 6 VL2500s for Easter. Those are great fixtures, to be sure. But this year, we rented 18 Elation Platinum Spot 5R Pros. Are they as good of a fixture as the VL2500? Not really. The panning isn’t as smooth, the color mixing isn’t as nice and we had one go flaky on us. However, we made a bigger visual impact with 18 of them than we ever did with the 6 VLs for the same money.

And you know what? If I were buying moving head fixtures for Coast Hills, I would probably go with Elation. No, they’re not as rugged as a Varilite. But, we can afford more of them, and they would be fine for what we’d need them for. 

Use What Fits

When I say “fits” I mean both budget and application. If you’re at a big church with big budgets and can afford the best gear, go for it. But if you’re at a smaller church with small budgets, don’t feel bad about going with brands with lower cool factor. Sometimes, the smaller companies innovate really well and come up with great solutions at great price points. Don’t discount them because they are not what the big church or big tour is using. 

I’ve talked with guys who are at smaller churches with all volunteer tech teams who are convinced they need a Digico at FOH and a Grand MA at lighting. Those are great pieces of kit, but they do have a steep learning curve, as well as big price tags. In a smaller setting with lower production demands, there are better options. Never feel bad about choosing the best option for your church; even if it’s not what all the cool kids are using. 

Get Good Advice

In my new role, I find myself helping churches decide what to buy. While I have my preferences on what I like, I have to set those aside and make sure I’m recommending what is best for them. I recently steered a church toward a Yamaha QL away from a Digico SD9. Personally, I would prefer the SD9 any day. But in this setting the QL makes much more sense. Not only is it considerably less money—and they were already at the top of their budget—it’s much more friendly to non-professional operators with zero digital console experience (and 20 years of analog experience). 

When purchasing equipment, make sure whoever is recommending what they are recommending knows your situation and how it will be used. Make sure they aren’t just giving you their stock solution. It would be a lot easier for me to have a “small church package” of gear that I can price and sell. But it would not likely be the best fit for everyone. So we stay custom for each church. 

I’ve always been a contrarian, so this concept is not foreign to me. But I write this to encourage those of you who are nervous about not doing what everyone else is doing. They used to say, “Nobody ever got fired for buying IBM.” That may have been true, but a lot of companies missed out on better options because someone took the safe route. 

Don’t be a gear snob. Get what works for your church. Everyone will be better off for it.

Today's post is brought to you by CCI Solutions. With a reputation for excellence, technical expertise and competitive pricing, CCI Solutions has served churches across the US in their media, equipment, design and installation needs for over 35 years.

CTW InfoComm 2014 Coverage: Allen & Heath Que32 Digital Mixer

Allen & Heath introduced the Que line of digital mixers a while back, and now they've added the Que 32. As the name suggests, it has 32 mic preamps, with 32 faders (plus master), so there are no layers. Well, sort of. Auxes, DCAs and FX are on another layer. It has a 7" touchscreen and some other cool recording/playback features. It looks like a square shot at the X32 from where we sit.

“Gear