16 Things Worship Pastors Should Say to Their Technical Directors

Recently I read an article from my former Worship Pastor and friend Rick Muchow titled 28 Things Pastors Should Say to Their Worship Leaders. This article is a fantastic read and you should definitely pass it along to your senior leadership. It was so good that it got me thinking about things Worship Pastors should say to their TDs. Rick has always been a great encourager to me and I have had the pleasure of working with many worship pastors that have encouraged and pushed me to excellence over my 20 years on church staffs. 

As stated in Rick’s article everyone has different gifting and that can cause communication barriers both with the Pastor/ Worship Pastor relationship as well as the Worship Pastor/ TD relationship. I have written my own list of what I believe, as a former TD, are things any TD can be encouraged by and reminded to do on an ongoing basis, some from Rick, some of my own.

So here are my 16 Things Worship Pastors Should Say to Their Technical Directors:

1.    I appreciate you.

2.    Trust is earned.

3.    People don’t love change, so love people through it.

4.    Excellence is a good value, but it should never trump loving people.

5.    Be thorough in preparation and rehearse everything

6.    Keep learning

7.    Keep learning (see what I did there?)

8.    Your family comes first.

9.    Take care of your health

10. Keep your commitments and follow through.

11. Serve other team leaders with grace.

12. Be fiducially responsible.

13. Be yourself, God uses leaders who are authentic

14. Be respectful of leadership

15. Bleed up; your team is not your therapist.

16. People are more important than tech. 

Service Planning, Technically Speaking

 

I recently wrote a post over at WorshipTechDirector.com on service planning from a technical perspective. 

One of the best ways to have a great service or event is to plan every aspect of it ahead of time. This includes all the technical aspects, preparing for both the actual service and any rehearsals that may precede it. 

I can’t tell you how many events I have been to that felt like they were cobbled together and where everyone seemed to be running the event flying by the seat of their pants. 

Great events require great and thorough planning. 

Not only do such great events go off well, but also their planning beforehand lowers the stress level and increases the credibility level of both the talent and the technical staff. It also increases the chance that you and your team will actually have fun doing what we all love to do. 

Read the full post here

New Version of Dante Controller Announced

Audinate has finally announced a new version of Dante Controller. Version 3.10 has a large number of feature allowing the end-user to manage larger networks with higher channel count devices in anticipation of upcoming firmware changes.

Here are some of the new features via the Audinate website:

Wi-Fi Support

The new Dante Controller 3.10 software allows users to manage Dante networks from laptops connected via Wi-Fi. By simply connecting a wireless access point to a Dante network, adjustments can be made from any location in a facility, unencumbered by cables.

Advanced Filters

The new Advanced Filter in Dante Controller 3.10 can be used to refine the range of devices displayed, allowing users to easily narrow and refine views when managing large Dante networks. Filter parameters include device and channel names, sample rate, latency setting and lock status.

Device Lock

Dante Controller 3.10 supports the new Device Lock feature for Dante-enabled equipment as well as end-user applications such as Dante Virtual Soundcard and Dante Via. This feature allows users to remotely lock supporting Dante hardware and software devices using Dante Controller, employing a user-selected 4-digit PIN. When locked, a device’s configuration cannot be changed until it is unlocked with the configured PIN. This new feature provides an added layer of protection against unauthorized or unintended changes to a Dante network.

In order to support Device Lock capability, manufacturers of Dante-enabled products will need to update their firmware to the new Dante firmware release 3.10, which has recently been released to OEMs. It is anticipated that manufacturers will release this update to customers over the coming months. For more information about the availability of this firmware in specific Dante-enabled products, users are asked to contact the manufacturer of their Dante-enabled product.

Support for Device Lock is included in the latest release of Dante Virtual Soundcard, v3.10, and will be supported in the next release of Dante Via.

“Version 3.10 brings vital enhancements to the Dante platform,” says Josh Rush, VP of Marketing at Audinate. “It paves the way for future enhancements, and gives managers and operators of Dante networks more control over the systems they supervise.”

To download the latest version of Dante Controller, visit https://www.audinate.com/products/software/dante-controller

 

Stay tuned for a review of the new software as soon as we have a chance to use it. 

 

Rock Star Teams? It's possible

Having built and cultivated both staff and volunteer teams for many years, I am asked frequently what I think are some best practices for building rock star teams. Here are four that come to mind right away:

1) Learn your people’s Love Language.

By this I mean that you understand what truly makes each of them feel valued. Caring for those entrusted to you by caring for them the way you want to be cared for, is not very productive, or very Christ like.

Jesus cared for everyone he came in contact with differently based on their needs, especially the Apostles (the 12 he spent the most time with).

My experience is that when people feel truly valued, even when you have to be tough with them, they will be more willing to sacrifice and buy into the cause. They will also be much more productive, because the work you are having them do is not a “Wild Goose Chase,” but something you believe in, much like you believe in them.

Read more....

USING PERSONAL MIXERS- THE BASICS

IMAGE FROM ALLEN AND HEATH

 

What is a personal mixer?

 Personal mixers give each musician or performer the ability to have an individual monitor mix on stage that they are able to control.

 If you are still wrestling with whether or not to use In Ear Monitors, Ultimate Ears has a great set of posts about making that move. You can read them here.

Ten years ago, the Personal Mixer landscape was very different. There were only a handful of manufactures led by Aviom. The user landscape was also more limited with mostly mid to large size churches using them on par.

Fast forward to 2016 and both have changed. Multiple manufactures like Digital Audio Labs, Allen & Heath, Roland, Elite Core, DBX, Behringer, MyMix, and others have joined Aviom in the market.  The user base has also grown as prices and ease of use has narrowed the gap.

While there is much conjecture on which one to purchase, I have some tips on using them that may help once you have them. 

So how do most person mixing systems work?

Most (not all) systems are set up in THREE ways:

Analog setup

Image from Aviom.com

For an analog sound console the system has an interface box with a ¼” send and return for each of 16 channels. These send and return to the inserts on whatever channel/ group on the console that you would like to use on that channel of the personal mixer. It is important to remember that this is interrupting the signal path of that channel and is therefore affected by every device in front of the insert point (gain, phase, etc.). Checking the owner’s manual should let you know where in the signal path the insert point is located. The interface box converts the 16 channels into a “digital” signal and sends a copy of said signal down 8 to 10 network cables to each of the personal mixers.

Digital setup

image from aviom.com

 Dante setup

image from aviom.com

Digital mixers that do not have remote digital snakes, meaning they have analog inputs right on the back of the console, usually have some kind of digital card slot for A-net digital network from Aviom. Both Aviom and Allen-Heath will work with A-net along with Pivitec, although the later is not officially sanctioned.

If the digital console runs on a digital network most have the ability to work on Dante or MADI. Each manufacturer will have their own proprietary network protocol and are usually brand specific;

Roland- REAC

DBX- Blu

Behringer- AES50 (Not exclusive to Behringer)

Aviom- Anet (Although others, as I said will also use this protocol)

Elite Core- Proprietary protocol

MyMix- MyMix protocol (analog/ ADAT)

Allen-Heath- ACE/ dSnake

Digital Audio Labs- Proprietary protocol

Many of the units will also interface with industry standard protocols;

            Behringer- Dante (through the X32 or M32 console only)

Aviom- Dante (with a Dante interface unit)

MyMix- Dante (Focusrite Rednet3) MADI (RME ADI-648)

Allen-Heath- Dante, MADI, SoundGrid, EtherSound (with appropriate card for the ME-U)

Digital Audio Labs- Dante (with a Dante card for the MIX-16)

Best Practices

 So now that you have your system, what are some things you can do to make each mix as good and helpful as possible? Here are some thing to think about when training users;

             -Make sure the master volume is at unity or “0”

If you crank the individual instruments but have the master volume down, you will cause distortion and discomfort.

-Try and keep the main EQ as flat as possible

            Like mixing for the PA, EQ should be in small doses.

-Pan instruments and vocals to create space

While in a large venue mono may be desirable to make sure everyone hears the same mix, it tends to clutter up an in-ear mix. Use panning to keep things in special perspective.

-Add what you NEED not what you WANT

This isn’t the main PA, if you have everything in the mix it gets pretty cluttered. This can muddy up the mix and keep the listener from hearing what they NEED to be able to play and sing with the rest of the group.

-Use the ambient mic sparingly

Many of the mixers have an onboard ambient mic. This can add great space to the mix, but it can also cause chaos.

-Make the over all level as loud as you need, not just LOUD

Remember that the ear-buds are only inches from the eardrum and this can cause hearing damage very fast.

I love what my friend Randy (a world class monitor mixer) says about mixing for musicians and singers. He uses the S. T. P. treatment.

-Self           

They need to hear their own voice/ instrument.

-Time             

They need to stay in time so they need to hear the snare/ hi-hat/ whatever     is keeping time.

-Pitch

They need to stay on pitch so they will need the melody.

            Everything else is just ear candy.

Earphone Considerations

You can have the best mixer and a well crafted mix but if you don’t have good monitors, it will all be for not. So lets talk earphones. I am going to split this up into three sections, and give you the pros and cons of each;

Generic headphones (e.g. Shure SE 215, Westone UM 10, UE 900S)

If you are on stage once a month, or on a tight budget, these are for you. Entry level pricing is around $100 per set and you can replace the earpiece with cleaning for multiple users. Although the more expensive generics may have duel or even triple drivers, the affordable ones are usually single driver units. They are usually a bit more fragile, but the lower cost make replacing them less painful. And they sound much better than iPod earphones or the drugstore brand that makes you look like a pirate.

Custom molded earphones (e.g. Ultimate Ears, 1964, etc.)

If you use earphones every week or more, you really need to invest in custom molded earphones. While it is a larger investment, the benefits far out way the sacrifice. They are also better for your hearing and your physical ears. There is no generic that can beat the sound of a good quality set of custom molded IEMs. Prices range from $400 to $1800 plus getting your ears molded at an Audiologist. You can save that money with Ultimate Ears as they have patented a digital ear scanner. You can find more info on this here.

Cheap headphones

                        DON’T USE THEM for this kind of monitoring. Just Say NO!

Final thoughts

-Not everyone should have a Personal Mixer
        You may want to think about mixing the BGV's from the sound console. 

-Training, Training, Training
        You will have to train and train often. Have a quarterly training. 

-Patience is key
        No matter how much you train, users will not remember everything. Be patient and know               that is the norm from now on.

-Know the mixer better than them
        You are and forever will be the expert. Live it, learn it, love it.

More information online:

Personal Mixer Buyers Guide

Personal Mixer Spotlight 

Van's New Adventure

 

 

Almost 20 years ago I left my AVL & live production gig and joined a church staff.

I have since been blessed to be on four church staffs; Saddleback, Mariners, South Hills, and Magnolia. It has been a journey filled with blessings and experiences I could not have ever imagined and I am truly thankful for it all. I have met so many new friends and it has been a true honor to serve with such amazing people, both staff and volunteer.  All of this has led to my next adventure.

In January I transitioned off church staff to become the Church Relations guy at CCI Solutions. I have big shoes to fill, as Duke DeJong has developed this position over the last four plus years.

I am excited for this new challenge, helping churches to be great and helping leaders as they serve the bride of Christ.  Sonja and I feel this is where my passion and experience collide.

 I'm staying in SoCal but may be in a city near you soon, so make sure to watch Social Media for my travel plans. 

So here we go. Hit me up if you have any questions;

thesoundbooth on Twitter

vmetschke@ccisolutions.com

 

 

 

 

Remodel Part 2- Here We go

We are one month from the actual start of our auditorium remodel project. So much has transpired in the last several month and so much has to be done before June 2nd.  The scope of the project is detailed in a previous post, but I just wanted to give you an update.

Financing is in place and on track for the end of May. The architect has submitted the preliminary plans to the city, so the plan-check process has begun. 

This week we had our first real meeting with Pastors, Ministers, and Department Directors. Assignments were finalized and distributed amongst the staff. Clean out and purging of the building has also been happening. This weekend we are having the final yard sales that will sell off furnishings, costumes, and a giant pile of things that the church collected over the last seventeen years. Most people do not realize how much has to be sorted, moved, sold, and thrown away just to have a large building ready for a major remodel. 

Another aspect of this remodel is that we will continue to have services on Sunday in the auditorium. While it would have been easier to move out, we do not really have that option in our current setup.  AVL system will be on a week to week basis with FOH and video becoming portable for the duration on the project. We will use the current speaker and projector system as long as we can and then move to a completely portable rig when that becomes necessary based on the construction schedule.

Next week we will finalize the AVL systems and electrical first pass. 

Stay tuned.

Museums, Movements, and Mr. Lilly

Recently our Middle School Pastor RJ McCauley sent me a link to a video called “Church Planter”. This video reminded me of a story that I tell about a man named Myron Lilly.

In my mid-twenties, my wife and I attended a Baptist church in a small town near where we still live today. This church was almost one hundred years old at that time and had dwindled down to an elderly congregation of around one hundred and fifty or so. The denomination had installed a young Pastor and many of the long time parishioners didn’t really like him. Oddly though, this church also became a refuge for a small band of Christian musicians and since I mixed for some of these bands, my wife and I became a part as well. One summer, we decided to start a Sunday night service called “Nite Life” for our generation. It would be for people who didn’t like church and for those of us who wanted to do modern music in church. We even advertised on local rock stations. The first night was packed with a younger crowd, many of whom were smoking on the front steps before they came in. We had hit our target and we were all pretty excited. Down on the front row walked Myron Lilly. Mr. Lilly, now in his eighties, was born on Saturday and in church on Sunday. He had been raised in that church and his mother’s maiden name was even on one of the stained glass windows. I didn’t really know him at the time, but, non-the-less, there he was.

The service was a great success and many became Christians that night. After the service the Pastor went back to his office. There was a knock on the door, and Mr. Lilly came in. “Pastor? Can I talk to you for a minute?” The pastor agreed and invited Mr. Lilly in. (Later he would tell me that he thought to himself “Okay, here it comes”). Mr. Lilly continued; “Pastor, that was the worst music I have ever heard. But if you have to bang on trash cans to get that many young people into this church, I will go down and buy the trash cans!”

Mr. Lilly came to that service every week. He prayed and ministered to those kids. When he died, many of those who attended that service were moved to tears.

Mr. Lilly got it. To this day, he is one of the few people I have had the privilege of being around about whom I can say “There goes Jesus”. He was a man. A man of faith. A man of God. He understood it was not about him. He was not just a “long time Christian” but a “Mature Christian”. He inspired me then as he does today to be a man who mentors and raises up the next generation of men to lead the church.

He was not interested in the church being a country club or a museum for reminiscing about the "Good Ol' Days". He wanted the church to be a movement and that is how he lived.

What kind of church do you want to be a part of? You may not think you can affect your church from the back of the room. You are wrong to think that. You can be a part of a movement.

SundayMag.TV "Mind Your Transitions"

My latest article is up at SundayMag.TV:

 

Train wreck.
Car crash.
Awkward moment.
Bumpy ride.
Kludge.

These are just some of the phrases many a technical professional has uttered under their breath during an event that is going, shall we say, not so smoothly. I have been a part of, as well as witness to, many events that had very bad transitions.

Well thought out and well planned transitions are crucial to any live event. They are, in my opinion, even more crucial in a church service.

A great church service is designed to move the attendees to a specific emotion, discipline, or realization; to engage in what is happening, to participate in an interactive way, to ingest insights and knowledge for living out a life in Christ, and to receive the knowledge of Christ’s redemption. A poor transition can pull people out of the very moment we are desperately trying to create for them. It can be so distracting that we lose them completely.

Read more...

The Four Elements Of Church Sound Redux – Part 4

photo © 2010 Center for Jewish History, NYC | more info(via: Wylio)

photo © 2010 Center for Jewish History, NYC | more info(via: Wylio)

This is part 4 of my 4 part revisit of some older posts. 

THE PROGRAM MATERIAL

At most churches each musician brings their instrument of choice and the sound person is expected to mix and equalize all and any instruments into a glorious blend of celestial music. It is a true fact that you can’t make a silk purse out of a sow’s ear. In a later article I will address the need for the Music Pastor/Worship Leader to set and keep a standard for musical instruments that are onstage. As your congregation grows it is likely you will want the church to own the majority of key instruments you use on a regular basis such as drums and keyboards.

The other part of the program material that can make or break the sound of your service is the singers. I realize that I am walking on glass when talking about this but it must be addressed. Which is worse: seven singers who are flat and not in key or three singers who are flat and not in key? You would be surprised at the number worship teams where the singing was bad the decision was made to throw more singers at the problem, but the bad singers only threw the new singers off.

The last part of this element is the quality of musicianship ontage. This is more than just talent, the sound of your band or orchestra is also very dependent on the servant’s heart to submit to the Music Pastor/Worship Leader as they submit to the Senior Pastor.

These four elements are the foundations for sound in any venue and they need to be addressed and incorporated into your church vision. It is very important that you never stop trying to achieve perfection in all these areas even though it may seem impossible, pressing toward that goal will constantly improve the quality of all you do at your church.

 

The Four Elements Of Church Sound Redux – Part 3

photo © 2009 seier+seier | more info(via: Wylio)

photo © 2009 seier+seier | more info(via: Wylio)

This is part 3 of my 4 part revisit of some older posts. 

THE ROOM ACOUSTICS

This is an area that plagues most churches because little attention is given to it while the building is being built.
Not all, but many of the architects that I have worked with over the years do not really understand acoustics in relation to the literal structure of the room. Many only seem to care how if the building will pass code and how the design will look in their portfolio. Let me say that I have worked with some great architects that really “get it” but those seem to be in the minority. (Please finish the post and take a deep breath before you email me your strong disagreement with these statements.)

Like the sound system itself, room acoustics become a big concern when the first service comes around. Most “good” rooms are designed that way from the beginning. A room can be “fixed” to a certain extent, after the fact, with acoustic paneling, bass traps, and decorative wall treatments. Knowing how much treatment is enough for your room usually requires you to hire a qualified acoustical consultant to help you with type and placement. The room acoustics absolutely affect the ability to have good sound in a room. Remember you can’t “E.Q.” the room unless you physically change the room acoustics. Carpet, fabric covered chairs, and of course, people, can also dramatically change the way the room and the system will sound.

Note: A big sledgehammer can also help the acoustics of your building and although you might enjoy using it, it is not recommended as a long-term solution, so seek professional help on this one.

Next: The Program Material

 

The Four Elements Of Church Sound Redux – Part 2

photo © 2007 Jenny Bauman | more info(via: Wylio)

photo © 2007 Jenny Bauman | more info(via: Wylio)

This is part 2 of my 4 part revisit of some older posts. 


THE SOUND PEOPLE

This is the most sensitive and important part of the sound system. People are the deciding factor in the sound equation. Most people that volunteer for the sound ministry at church have a great heart of service. They are content to be behind the scenes and never be mentioned.
They spend long hours at rehearsals and practices for worship, skits, plays, women’s dinners, coffee houses, youth rallies and the like. They are also faithful to be at church, usually before anyone else to set up the stage, and the last ones to leave.

They are the unofficial information center to direct people to the restrooms, lost and found, and the nursery. Most of the time no one tells them when they have done a good job but they are the first to hear about any problems, and not by one person but everyone that passes by the sound booth. The sound person is blamed for many things including, but not limited to:
Singers who are flat, sing the wrong words, or don’t know the words at all;
Bass players who unplug during the prayer or before their channel is muted;
Guitar players whose amps mysteriously get louder and louder during worship;
Or Pastors who put a cable knit sweater over their lapel mic and wonder why they can’t be heard.
(NOTE: CALLING OUT MISTAKES FROM THE STAGE IS THE #1 WAY TO GET VOLUNTEERS IN THE CONTROL BOOTH TO WANT TO LEAVE THE TECH MINISTRY.)

Make no mistake about it, volunteer sound people are the unsung heroes of the church. The truth of the matter is that most sound people are professionals who work hard all week at their ‘real job’ and then serve in the sound ministry at night and on the weekend. Because of this, most people come into the sound ministry with a willing heart but not very much knowledge about music, sound or sound systems. This lack of knowledge breeds either the ‘tweeker’ who is always turning knobs but doesn’t really know what changes are being made or the ‘petrified rock’ who never touches anything on the mixer because they are afraid of messing something up. Both of these make for a challenging service and, most of all, lead to a VERY frustrated Pastor-worship leader-band-etc. This also leads to burn out on the volunteers part, because it creates stress and frustration on their part, as well.

Next:3. Room Acoustics

 

The Four Elements Of Church Sound Redux – Part 1

photo © 1900 Swedish National Heritage Board | more info(via: Wylio)

photo © 1900 Swedish National Heritage Board | more info(via: Wylio)

Several years ago, I wrote a series of posts on the “Four Elements of Church Sound”. In this next series of post I will revisit those post and make some new observations. Since those original post, I have had a lot of new questions put to me and, hopefully, I have learned a few things along the way. So hear goes…

True or false? “The sound system and sound people in your church is the same as in mine.”

The answer to this question seems so obvious, but the sound system in each church was designed, purchased, and installed using very deferent criteria, one from another and many sound people have learned most of their audio knowledge with the sound system they work with every week. If this system is not properly set up from the start the operator’s ability to provide good sound is immediately compromised.

There are FOUR elements to good sound in any venue;

1.The sound system.

2.The sound people.

3.The room acoustics.

4.The program material (which includes the instrument quality, the talent of the musicians, and the arrangement of the songs).

Let’s go through these one by one to see the reality.

THE SOUND SYSTEM

Most sound systems in contemporary churches were set up in one of four ways.

1. Components were donated from a band that is no longer together (or no longer practicing in their garage,) and their sound man (or lead singer) comes over, sets up the system, and in 15 minutes dispenses all his knowledge about how the system works. This meeting usually ends with him saying “Good luck!” and BAM! the church has a sound system. Note that generally none of the microphones for the worship singers are the same model or even the same brand and the system does not have any way to optimize it, like equalization (except on the channels of the mixer, which are only fixed high, mid, and low). Rereading this, I stand by the brutal reality….

2. The music Pastor pours over industry magazines or websites then takes a fateful trip down to the local music store where he or she buys not what they want, but whatever the store has in stock because “there just isn’t any more time” or the budget does not permit.

3. The pastor or a well-meaning board member picks a sound company on line or out of the phone book, usually alphabetically, and has them bid a system based not on what will work for the church, but the budget. Usually in this scenario the music pastor and the existing sound people are not once consulted, but expected to operate with this system and perform flawlessly at the next service. This goes for the entire church building process, the first building is build on BUDGET and the second is built on PURPOSE.

4. One or two of the sound team members persuade the Pastor and board members to buy the equipment, usually out of a catalogue or on the internet, hanging speakers wherever and using microphone cable from their favorite consumer electronics shack in the mall. This system never works correctly but everyone is afraid to admit it.

Do any of these scenarios sound familiar? It has been my experience that all of these methods start out with the best intentions in mind, but end up causing friction and frustration in the music ministry, not to mention inadequate sound. Remember that the great Pastor Charles Spurgeon called his music ministry “The War Department.”

I will continue this thread with Part: 2 "The sound people."

 

Remodel Part 1- The Adventure Begins

One of the reasons I became the TD at Magnolia Church (or “MAG” as it is affectionately known) last year was to help facilitate our upcoming auditorium-building remodel and build teams that could operate the new AVL system that will be implemented. As well as oversee I.T. and the rest of technology on the campus.

Blended service

Blended service

Some History

Magnolia Church, formerly “Magnolia Avenue Baptist Church”, was founded in the mid 1950’s. The current auditorium or “Worship Center” was built in 1974 and remodeled in 1997. For 35 years Mag presented “The Living Christmas Tree”, as many churches did. Subsequently, the auditorium was built around that yearly performance, as it, by then, was a staple of the community.  

"Living Christmas Tree"

"Living Christmas Tree"

Several years ago, for many reasons, the LCT was retired and even though the church still has a special Christmas “performance” every December, the focus of the auditorium is not on that one event. The building has been well maintained but is just generally out of date in most all areas.

"We Have Our Savior" Christmas 2013

"We Have Our Savior" Christmas 2013

Today

Mag’s current weekend lineup is two “blended” Sunday services (choir and orchestra with rhythm section) and one “contemporary” (band and singers) service. Although we “mix it up” occasionally, we really have two styles of music each week. A renewed emphasis is being placed on who Mag wants to serve locally: its existing members, the surrounding community, and California Baptist University (directly across the street from the church).  We will also be able to accommodate outside community events and church wide events more easily.

Scope of Work

The scope of the re-model will consist of:

            Auditorium

  1. A new ceiling system that will enhance the acoustics of congregational singing without detracting from the audio systems intelligibility.      
  2. New seating to replace the current pews and add 50+ more seats (theatre style seating without armrests).
  3. All new acoustic treatment on stage, side walls, and rear walls.
  4. A rebuilt stage platform with permanent “thrust”.
  5. A complete Audio and Video systems upgrade, including relocation of the FOH position and the video control room.
  6. Updating the existing lighting system and relocating/ adding lighting positions. This will also include LED house lighting.

Lobby, Etc.

  1. Re-Model/ expansion of the lobby, entrance areas and Restrooms.
  2. Re-Model of the fellowship hall and kitchen, which includes all new A.V.
  3. Re-Model/ expansion of the outside guest areas including a coffee bar and seating area.

Other Upgrades 

  •  Outdoor baptismal and water feature. (Proposed)
  • New “Monument tower” to replace the current steeple over the front entrance to the building. (Proposed)
  • All new signage and way finding.

Schedule

We have already been in the planning stages of this project since mid 2013. As of this post the Architects, Electrical Engineers, and AVL Designers/Consultants are finalizing their designs for submittal to the planning department for permits and such. We hope to be started with construction at the end of April.

Church Events

We will, for the majority of the project, continue to occupy the building during construction (at least on the weekends). Most of the events that happen during the week will be moved to our other buildings.

Each month I will be giving you an update on the remodel, so stay tuned. The Adventure begins!

Church Tech Leaders "Working In Your Strengths"

I recently wrote a post for ChurchTechLeaders.com. Here is an excerpt;

 

"I’ve been doing a lot of thinking lately about working in my strengths. Like many of you, I have many strengths that pertain to the tech world. For me, the two at the top are 1) being a good troubleshooter, and 2) being a people person/ people encourager. Both of these have served me well over my career in tech and life in general. I’m also a dreamer, creator, and builder. And, even though I can be sarcastic and dark, deep down I am actually an optimist, a “glass half full” kind of guy.

The latest economic down-turn was tough on everyone, while I have my views on economics, politics, and faith during hard times, I will save those for another post. Everyone has been affected, and those of us on church staffs are no exception. Like any company, a church has bills to pay and mouths to feed. Economic down turn = people having less money = giving goes down = church budget gets cut = layoffs… well you all know the drill...."

Read the rest of the post here.

Dewey Type (COTM) Stand light Build

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There has been a lot of buzz about the small white lights that Church On The Move uses on their stage.

After talking with Andrew Stone, COTM’s Production Director and finding out how they assembled them, I decided to build our own variation. I did not build these the same way COTM did, but achieved a similar result I was very happy with.

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Here is the Parts list:

1 inexpensive Par38 UL approved (VERY IMPORTANT) par can. We used chrome, as we already owned them but they are also available in black.
1 length of All-Thread Rod, we used 3/4″ in various lengths.
4 nuts and 4 fender washers that fit whatever size thread rod you choose.
1 weighted mic stand base, we had some old Atlas Mic Stand bases around but you could also use a square piece of steel stock for the base and weld the threaded rod to it. Or use a 10 pound steel weight.
1 Par 38 light bulb, we used 65 watt.
Several tie wraps.

Here is how I assembled it:

Note: Depending upon what size thread rod you use, you may have to drill out the light fixture clamp hole to fit correctly.

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I then tie-wrapped the cables to the rods and connected the lights to our dimming system. As with any lighting, make sure you do not exceed your dimming channels recommended load parameters.

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