Digital snakes, digital transports, personal mixers, Dante, MADI, AES50…how do you make sense of it all? We help you sort it out.
One of the trends we’re seeing in the integration Biz is the meteoric rise of LED video walls. As few as 5-7 years ago, video walls really only made sense for outdoor sports stadiums and really big churches with really big budgets. Here we are in 2016 however, and the calculus has changed.
A question we’re fielding a lot lately is, “When does it make sense to consider a video wall instead of a projector?” I wish there was a hard and fast rule for that, but I’m not sure there is. But here are a few parameters we look at.
Ambient Light Levels
In the past year or so, I’ve worked with churches that are not the modern “black box” style of sanctuary. One had a giant 300 sq. ft. stained glass window right next to their screen. And yeah, it faced south. My first thought was video wall for them for two reasons. First, it would have the punch that no projector ever would making it possible to actually overcome all that ambient lighting. Second, and maybe more importantly for me, the blacks would actually be black. You see, a screen will only ever be as dark as the white screen ever gets. When there is that much ambient light in the room, it’s never going to be darker than light grey.
That destroys contrast which makes the already not bright enough projector seem even more washed out. By contrast (see what I did there?), the background of a video wall—the space between the pixels—is black. And when the LED is off, it’s black. I don’t care what the contrast ratio spec says about a projector, it only matters if the room is very dark. In a full light situation, the screen looses.
This one is a little more subjective, but we’re finding that if a church wants to talk about a projector in the 12-14K lumen range or higher, we should probably start talking about a video wall. Now, I should make it clear that a video wall is not going to be the same initial cost as a 14K lumen projector. It’s going to cost more up front. However, when we do the math, often the delta is low enough that it makes sense to go with a video wall.
Video walls don’t need lamp changes, they can be mounted to the wall or flown and don’t require a clear path from viewing screen to projector. The overall service life of a video wall is likely to be longer, and they generally require less maintenance. At the end of the day the wall may still be more money, but the extra value it brings is often worth it. Not every time, but sometimes.
Some churches want to use a big screen as a backdrop to their stage. Projectors can be problematic because if people get too close to the screen, they’ll cast shadows unless you do rear projection. But rear projection requires a big backstage area. If you want to do a wide screen, you’ll need to blend the projectors, and that can be tricky and may need adjusting from time to time. And the screen will still be competing with stage light.
When we switched from a 16K projector to a video wall at Coast Hills, the biggest thing we all noticed was that the stage lights had no effect on the video image. Whereas before we had to be really careful where we pointed the lights, how much haze we used and even where we hung fixtures, the video wall had enough power to punch through all of it. And the blacks stayed black no matter what.
Like I said, there are no hard and fast rules. Yet. Video wall technology is advancing at breakneck speed and almost every year we’re seeing an increase in pixel density, and a decrease in weight and cost. Brightness isn’t changing much; they’re already bright enough. But we’re also seeing refresh rates go up, and processing quality improve all the time.
All of that to say, if you’re thinking about replacing or upgrading some projectors, especially larger ones, it’s worth looking into video walls. They don’t make sense in every case, but when they do, they’re a big win.
A few weeks back, I got to participate in my first competitive pistol shooting meet. I’ve been wanting to do this for years, and the time was right to give it a shot. See what I did there? I showed up not knowing anyone—or that it was a low-light match, me without my flashlight—and had a great time. Being a newbie, they let me shoot in full light and coached me through the stages.
At the end, I didn’t do too badly. I placed third (out of ten) in my class and tenth overall (out of twenty). And that was after making a hash of my first run. I was so nervous having never done this before that I made several errors, botched a reload and had two jams. So how did I go from that bad to not bad? Pre-visualization.
See Yourself Doing the Tasks
I’ve written about this before, but there is a huge benefit to visualizing yourself doing a series of complex tasks. One of the great things about being the new guy at this match was that I went last. I got to watch the veterans run the stage before me. I noticed the guys who were really good were using every break between shooters to walk the stage. They would move back and forth, simulating the angles they would shoot the targets, do virtual reloads and figure the whole thing out ahead of time. That way when it came time run the stage, they weren’t trying to figure it out, they were running the program they built in their minds.
I’ve done the same thing when mixing for years. I applied the pre-visualization technique the match and each stage I ran, I did better than the one before. When the pressure is on and seconds count (literally), you can’t be trying to figure out what to do. You need to know what you’re doing and just do it.
Transitions are for Go
I read a post recently about training for matches and the author said, “Splits are for show, transitions are for go.” What he meant was two quick shots on one target is one thing, getting to the next target just as quickly is another (and will make a bigger difference in your score).
A church service is similar in some ways. I could rephrase that to “Mixing is for show, transitions are for go.” Transitions are what often make or break services. People won’t notice a mix that’s not perfect. But blow a transition and almost everyone knows. I talked about this a few weeks ago.
Let’s take the opening of the service as an example. I’m not sure what you have to do, but here’s a rundown of the tasks I complete in the few seconds before the service starts and a few seconds afterward.
That all happens in about 30-40 seconds. It’s important to note that order is important. Obviously, if I hit stop on music playback before the fade, it will be really apparent. But also notice that I prioritize pulling out my IEM before checking the WL’s mic level or clearing the solo. That’s because to accurately set the level, I want both ears open. The solo clear can wait; I’m not likely to use that again for a a while, if at all during the set.
Also notice that I don’t bother to stop the walk in music until the first song is under way. I figure I can spare a few seconds hitting the space bar right after the song starts up. I don’t want to just let that roll in case somehow that channel gets pulled up in the band’s ears or even worse, in the house by accident. But it’s a task that can wait a little bit.
Like walking through the stage at my pistol match, I walk through the motions at FOH a few minutes prior to service start. Going through the motions helps me identify anything that might cause a bumble or slow me down. I make sure my keyboard is in place and Spotify is on top so when I hit space bar Spotify stops, not Reaper. I make sure my console is clear and I’m on the right snapshot (most times anyway, see that other post…).
Don’t Just Wing It
Like I said, I was the last one to shoot each stage, so I saw the whole field go before. One thing I noticed is that some guys tried to just wing it. Those were the guys who ended up doing unexpected slide-lock reloads because they ran the gun dry in the middle of a target sequence instead of reloading while moving between positions. Those guys also shot the same target from multiple positions because they didn’t think a sequence through. All those things cost them valuable time.
Some weekends, especially by service 5, I think I can just wing it, too. That usually doesn’t go well. Most of the service starts I’ve botched I’ve done so because I didn’t go through the motions first. It’s easy to get flustered once things start going wrong and it can quickly spiral out of control. But when I take the time to walk through it once first, it’s pretty seamless.
The other thing I did while at the match was ask other guys how they would shoot a particular target. I learned a lot doing that. But that’s probably another post.
Normally, I don’t like doing self-promotional posts. But my friend Luke pointed out we’re going to a lot of trouble to arrange this class, and it might be good if people knew about it. So here we go.
Most of you know that I’ve been part of the SALT conference for the last few years. Last year, I had the privilege to organize the audio track. This year, SALT organizer (and good friend) Luke McElroy asked if I would do a pre-conference mixing class. Never one to back down from a challenge, and always wanting to be part of my favorite conference of the year, I said yes.
Here’s the deal: On Wednesday, Oct. 12, I’ll be teaching a class called Becoming the Mix Master. I did not name the class. But it’s kinda fun. Instead of teaching you how to drop beats and spin vinyl, I’ll be teaching you the basics of mixing.
Fundamentals Not Basic
Basic is probably the wrong word; perhaps fundamentals is better. I’ve only got 3.5 (maybe 4 if I push it) hours to work with, so I can’t teach you everything that I’ve learned in 25 years of mixing. However, I will teach you the fundamentals of crafting a good mix. And don’t worry; none of this will be gear or plugin dependent. Everything I teach will be things you can take back to your church the following Sunday and use—no matter what equipment you have or how big or small your church is.
Break It Down
Playing up on the Sir Mix A Lot theme, I’m going to start off having you listen to a mix that I’ll put together. Then we’ll spend the next few hours breaking down how I got there. We’ll talk about things like mic selection and placement; building proper gain structure; setting your console up for success; proper use of high pass filters and EQ; selective compression; and effects. If I have time, I’ll show you my super-secret trick for helping the lead vocal stand out without being painful. OK, it’s not super-secret—I’ve written about it here several times.
As I said, this will be a gear-independent class. My buddy Jake Cody from Yamaha has agreed to provide consoles for me to work on, which is super-cool. Most of you know I’m a Digico guy, but to prove the gear doesn’t matter as much as the technique, I’ll be doing this whole thing on the very capable CL. For fun, we may also demonstrate some of the techniques on a TF-5 as well, just to prove the point. My goal is to create a training session that you can use regardless of what you mix on.
As I said, this whole shindig will take place on the first day of the SALT conference, Wednesday, October 12. The cost for this littleconfab will be a whopping $79. In the interest of full disclosure, I should tell you that Luke is generously sharing some of the funds with me, though I told him I’d do it for free. You can register for the class here: http://saltnashville.com/salt16-labs/. Space is limited, but I hear there some room left.
And really, you should be coming to the SALT conference anyway—it’s really one of the best conferences of the year. There are some exciting changes coming to this year’s event, and this is the one that I look forward to. I know the team responsible for the event and I can tell you they have a huge heart to help the church and the church tech.
So come on out and hang with me for a few hours this fall. I don’t claim to be the best, but I’ve learned a few things over the years and look forward to sharing them. And if you listen to the podcast or read this website, please say hi before or after the class.
This week, we talk about the pros and cons of electronic drums. Sometimes they can be a real life-saver; sometimes they cause problems. We help you navigate that.
I have a confession to make: I totally botched the opening of the 9:35 service this weekend. Looking back, I can see exactly where things went wrong, and it’s because I violated my process. Here’s what happened.
At 9:31, one of the camera ops asked if I could dump her coffee. I figured I had 4 minutes, so I’d run to the restroom and dump it there. Once in the restroom, I figured, why not, I have time. I got back to the booth at 9:34. I noticed Reaper hadn’t started recording, and it wasn’t responding. The broadcast guy came out with the removable drive and we got the recording going. When the cue was called, I hit Next and nothing happened. I hit it again. Nothing. I glanced at the monitor and found, to my horror, I was still on the Walk Out snapshot. So I quickly tabbed up and hit fire. Except I tabbed up to Walk In, not WL Welcome. I hit Next again, and again and finally, the service got under way with the first song. The welcome was lost in the shuffle.
Now, that’s not the end of the world, and I shook it off and mixed a solid service. But as I sat there during the message thinking about the events that transpired, I was reminded again about why I have a process.
Be Ready Early
One big key to my process is to be in the booth at 5 minutes before service start. I don’t really like to be talking to people at that time, and I’m not on my phone. I check all the equipment I need for the service.
Recording? Ready; check.
Wireless Mics? On, batteries good; check
Walk In Snapshot? Yes; check.
Music Playback on top layer of Mac so I can stop it without clicking around? Yes; check.
One IEM in and Stage Announced on PFL? Yes; check.
That entire process takes less than a minute. I spend the next few minutes thinking through the service. If you’ve ever watched a professional skier at the top of the hill before a run, you will have seen them bobbing left and right, up and down, mentally running the course in their minds, and to some extend with the rest of their bodies. They are preparing themselves for success.
I like to do the same thing. What motions do I need to do right at the beginning of the service? Listen for the countdown, fire the first snapshot with right hand, pull out my IEM with right hand, check levels, fire the song snapshot with right hand, check the mix, stop music playback with left hand, mix the service. How do I work through transitions? I visualize it so when I get there it’s not a surprise. Sometimes I change things to make it easier to hit all the marks.
It looks weird, but when I do it, I can nail the transitions. When I don’t, well, we have what we had this weekend.
Clear Your Head
It can be hard when people come into the booth and want to chat—and by the way, stopping by the tech booth 3 minutes before service starts is really hard on the tech team—but I like to clear my head and focus on the task at hand. Forget about the Facebook argument. Forget about dinner plans. Forget worrying about whether the dog peed on the carpet while we were at church. Think about what I’m going to do next. What’s the mood of the service? How full is the room? Do I need to bump the master up or down? Zone in on the task at hand, and stay focused.
That’s really hard to do as people are dropping by to say hi. But you have to discipline yourself to smile, nod your head and get back to focus.
Do What Works For You
You probably don’t need to do my process. But you should have a process you go through before the start of the service. Figure out what steps you need to take, and what you need to do and how long it will take and make sure you follow the process. It’s easy, especially by the time you get to the last service, to slack off the process and assume everything will just work. Don’t do it! Stick with the process. And if someone asks you to dump their coffee at 4 min to service start, set the cup down safely away from any expensive electronics and get back to process. You can thank me later. Have a great weekend!