It’s an LED week here at CTW. We talk with Daniel Connell about lighting, trends in stage design and how LEDs have finally arrived. Plus, a special message from Jonathan Davis!
It’s an LED week here at CTW. We talk with Daniel Connell about lighting, trends in stage design and how LEDs have finally arrived. Plus, a special message from Jonathan Davis!
Mike and Van sweat it out on the mean streets of Las Vegas searching InfoComm 2016 for some cool stuff. In this episode, they run down what they find while trying to stay cool.
Though it happened a month ago, I thought it would be fun to get the rundown on SALT 2015. We talk about the story arc of the conference, being intentional and how design matters.
One of the highlights of our Easter service for me this year was our acoustic set. “Set” is probably an overstatement; it was a single song. We did All Sons and Daughters’ Your Glory/Nothing But The Blood. As we were brainstorming the best way to do this, we hit on the idea of doing it sort of bluegrass style with the musicians clustered around a single microphone.
As we talked about it, we didn’t think we could pull that off, but I thought we could do two mic’s in front for the vocals and guitars. A small acoustic drum kit (kick, snare, hat) would be in a rolling platform we could bring in for that song. We would have the bass and cello players stay where they were, the keys player could play accordion from keys world. It sounded great in theory; but we’d never done anything like this before. So we thought we should test it.
Figure-Eight for the Win. Almost.
We own a pair of AKG C414 IIs. As multi-pattern mic’s, one of the options is figure-eight. I thought it would be cool to position the two guitar players facing each other on one mic, and the two vocals facing each other on the other. In our testing, it seemed to work OK. But when the rest of the band got there, it wasn’t happening. We muddled through rehearsal, but I don’t think anyone was really happy with the result.
I went home and thought about it for a while. A few days went by and I decided I would rather have the mic’s in a wide cardioid pattern with the two pairs facing the audience. I suggested this to Justin, our worship leader and he completely agreed.
Cardioid for the Win. Really.
This actually worked. As soon as we tried it out at Saturday’s rehearsal, we all knew it was the right call. The musicians felt better leaning in to the mic as they were leaning in towards the audience. My gain before feedback went up quite a bit, which made everything sound better. I was running both mic’s through the two channels of Portico 5045 (aka “The Magic Box”), which further helped clean them up. This was what we were going for.
The Rest of the Band
House left to right, we had the accordion played by our keys player. I decided to bring my Heil PR-40 in for this one. It sounded really good and required almost no EQ. So that was easy. Our cellist has a pickup in his cello, so again, easy. For the acoustic drum kit, our drummer brought in a small kick a snare and hat. I put a Beta 91 in the kick and stuck an old SM-81 on a boom stand for the rest. I wasn’t concerned about getting a huge drum sound, and he played with brushes. It was more of a vibe. Our bass player brought in his Hofner, which has a nice fat sound that stayed out of the way of the vocals.
Lighting Sets the Mood
As is the trend these days, we went with a tungsten look for this tune. My LD Thomas did a great job creating a simple look with the movers, and added some Parnells for up-lights at the feet of the four up front. In contrast to the rest of the music set which was full of color and movement, this song was pretty sparse and simple.
For many, this song was the highlight of the service. I thought it carried the most emotion and weight and felt really good. The only downside to this song is that I don’t feel the mix on video really captures what was happening in the room. Our broadcast mix is really dialed for the big songs and speaking; but I didn’t have time to get this dialed in as well as I hoped. Still, it’s not bad, and I’m including it here for you to see what we did.
Some of my friends (cough…Andrew Stone…cough) don’t like accordions and mandolins, but personally, I’d do this again in a heartbeat. It was a lot of fun.
This week we talk about visual silence, multi screen environments, visual worship and a host of other topics related to immersive worship environments. Plus, some great new products in the news!
Several people have asked if I was going to write up our set and program from Christmas Eve. Since that’s pretty much what I do, here you go! This Christmas Eve was a lot like the past two, at least from a programming perspective. The look has been similar but different each time. In 2011, we stopped doing our big Christmas production and instead did Simply Christmas; four services on Christmas Eve. I joked at the time that I was glad we didn’t do Complicated Christmas, because from a production standpoint, it was anything but simple. But we made it work.
The Ghosts of Christmas Past
The look for that year was designed to be warm and inviting, simple and down to earth. My design principle was to put together something some kids would build if they were in a barn in the country putting on a Christmas service. We used a lot of OSB, hanging antique lights and an old piece of muslin for a screen.
Last year, we kept the hanging lights, but cleaned up the look a bit. Instead of OSB, we build luan panels and the block wall. It was still warm and inviting but a little more sophisticated.
Similar, but Different
This year, we changed it up some more. Instead of the giant, artificial Christmas tree we’ve used in the past, we build a 16’ tall one out of pallets (and a few smaller ones). Instead of hanging the bulbs, we made the CMA lights. And we repurposed some old PAR cans from a student room and created our version of the Dewey.
In past years, we’ve never been able to do much with lights, because, well, we just didn’t have that much to work with. This year, as part of our end of life equipment replacement fund, we picked up a dozen Elation Impression 90s, and another eighteen FlatPars. This gave us an incredible amount of color to work with. The past two years have been a lot more about the sets, this year, it was a lot more about the lighting.
Our older Studio Colors are now in the house and give us options there, while we kept the Martin 518 RoboScans as a cool beam light upstage.
Rentals that Almost Didn’t Happen
Due to a rare accounting glitch, we found ourselves with no budget for Christmas this year. I had planned on renting six VL2500s and three snow machines from our usual supplier, but when the price came back, we couldn’t do it. Even after they lowered it, it was still out of reach. Then I talked with a new CTA sponsor and local rental house, Pacific Coast Entertainment. They put together a package of six Elation Platinum Spot 5r Pros and three Antari snow machines at a price low enough for me to move some money around in my operating budget. So we were able to make it snow again for Christmas.
The Platinum Spots, while not nearly as bright as the VLs, were certainly good enough, and the Antari snow machines were actually much better than the ones we’ve been renting. You can see the Platinum Spots on the upstage poles, surrounded by Color Blasts.
A New, Brighter Look
With all the new lighting we have to work with, the service was much brighter than in years past. We’ve completely re-hung our front light this year, and that’s driven a lot of the new look. Of course, having two dozen moving heads on stage gave us a lot to work with as well. I have to give a lot of credit to my LD, Thomas Pendergrass. He did an amazing job not only with the lighting design, but programming as well. And of course, the rest of the team pitched in and helped make the set possible.
Overall, I was very happy with the way the service looked this year. About the only thing I didn’t like is how cluttered the stage looked. We added three musicians this year, which meant more cables, more M-48s and more mic stands—not to mention keyboards, music stands and all the cabling. It just looked cluttered to me; not sure how we’ll address that in future years, but it’s something I want to look at.
So that’s a little bit about the set. Later this week, I’ll talk about mixing it, and talk about a calculated risk I took that didn’t really pay off. In the meantime, if you want to see the service, here it is on Vimeo.
Or is it a Christmas Tree-shaped pallet?
Continuing our theme of the Christmas set, today we’ll talk Christmas trees. In past years, we’ve set up a giant, 20’ artificial tree on stage. It looks good enough, and is pre-lit, so it’s not really that hard to set up (after we finally got all 9 sections labeled properly…). But this year, we wanted something different. I had been looking through ChruchStageDesignIdeas.com and saw this set from Grace Church in Camus, WA. I liked the look of it, and it fit in with our “vintage” look that we’ve been going for. But we had a few challenges.
Where do you find pallets?
Pallets proved to be harder than we thought to acquire. My ATD Jon spent a few days calling around and we eventually spent a morning with a trailer behind his truck picking up pallets in various states of disrepair. I have to admit to being really nervous about how much would we could harvest from the pallets, thinking we wouldn’t have enough. Our big tree is 16’ tall and required over 30 courses of wood to complete. That seemed like a lot of wood, so we collected over 20 pallets (and I didn’t think it would be enough).
As it turned out, we were fine. I think we broke down about a dozen pallets and had more than enough wood to build the 16’ tree and three 8’ ones. Now we have to get rid of the extra pallets…
A good structure is needed.
I’m not really a set carpenter; I’m a residential/commercial carpenter. For that reason, it’s possible I tend to overbuild things. My dad and I used to joke that if we ever started a residential building company, we’d call it Sessler & Sons General Contracting and our motto would be, “If it ain’t overbuilt, we didn’t build it.”
My big fear with a 16’ tall tree made of pallet slats was racking. I knew we would be using two slats per course on the bottom half, and that would mean we would need at least three points of connection per course. I designed a basic box frame with a 16’ tall center pole, two 10’ tall outer poles, all tied together with 18” spacers. I planned four courses of spacers, but one of my volunteers talked me out of one of them (it probably was overkill…).
I used 2×8 for the frame for two reasons. First, I knew it would be more than strong enough to stand up straight without racking. Second, we had a bunch of 2x8x16’s laying around from another project. I had some of our teen volunteers paint them black a few weeks ago, so we would be ready come build day.
Breaking down pallets is surprisingly hard.
Those things are built to last, and they don’t come apart easily. We used a Sawzall with a metal cutting blade to cut the nails off behind the slats. Once we had a good collection of slats, I sorted them by length and width. I started by laying out the outline of the tree on the floor with tie line. A basic triangle with an 8’ wide base, a 1’ wide top and 16’ tall. Once I had a general spacing layout to work with, we built the frame.
We cut some 2” spacers from scrap to keep our course spacing consistent. It took a while but eventually we got into a good rhythm of selecting boards, laying them up, marking the length, getting them cut and screwing them in place. Once we moved to the actual frame, we screwed down the bottom and top courses and stretched some tie line very tightly between them to define the side shape.
Once all the courses were in, we stood it up and used another 2x8x16 as a diagonal brace. We thought we would need to sandbag it, but there’s enough weight back there that it doesn’t need it.
Smaller copies complete the layout.
We also made three 8’ versions. These were much faster to put together; the big one took us about 3 hours, while the small ones took about 30 minutes each. The small ones are made from a single 8’ 2×8 with a 40” piece of 2×4 screwed to the back of the 2×8. The 2×8 is wide enough that a few sandbags on the 2×4 give us plenty of tip resistance, so we didn’t diagonally brace them.
Lighting really makes them sing.
While the trees look good on their own, we are going to use ETC Parnells to light them up from the ground. The warm light of the Parnells makes them glow wonderfully, and accentuates the rustic nature of the wood.
So there you go. That’s our version of the pallet tree!
Last time, I talked about some of the places I use to come up with ideas for stage designs. Today, I’ll share with you one of my adaptations. We called these “CMA Lights” because I saw something like them on the CMA Awards show a few months ago. This video shows Little Big Town doing one of their songs out the audience surrounded by these cool, vintage-y looking lights on poles. I liked the look instantly, and as we’ve been doing vintage lights for Christmas Eve the last few years, figured I’d adapt the design.
First, The Easy Parts
The bulbs are easy. My go-to spot for vintage bulbs is 1000 Bulbs.com. Not only do they have many different styles, they have lots of other useful parts. For this design, I needed a keyless socket to mount the bulbs in. I wanted keyless because I don’t need a switch to turn the bulb on and off. I found this at 1000 Bulbs, and because it’s nickel in color, it works perfectly with my plan. Once I had the top figured out, I needed to develop a plan for the pole mount.
Plastic Pipe is Cheap & Easy
I don’t know what they used at the CMA’s to build these, but it occurred to me almost immediately that 3/4” Schedule 40 plastic pipe would be perfect. I mounted a coupler on top to give me a little larger diameter hole to glue the socket to. Clear silicone is more than enough to hold the socket in place.
So now, the bulb is in the socket, the socket is on the pipe, but how do we keep the pipe pointing upright? There are probably a dozen ways to do it, but this is what I came up with.
Wooden Bases Fit The Bill
My plan was to use 12” square plywood or OSB bases. Those are easy to make, and cheap, and as we’re only making these about 3’ tall, will have plenty of tip resistance. The tricky bit was figuring out how to mount the pipe to the wooden base.
I had already devised a plan to use a two-part base system for another project. Basically, we drill a 1 1/2” hole in the center of the base, then cover that up with a 4” square piece of plywood, glued and screwed down. This provides a clearance for the rod and nut and keeps the bottom of the base flush. But how to bolt the PVC pipe down?
I wandered Lowes for a good 30 minutes before I stumbled upon this solution. A 3/4” threaded adapter has a perfect little shelf inside of it for a 1” diameter washer. When bolted to the base with a 3/8” in bolt, voila! It’s all good to go. Because these are light-duty light poles, I don’t need a ton of lateral strength. All I need is for them to stay upright, which they do quite well. The bases are small enough that we can put them almost anywhere, and we’ll be spreading ours out across the stage. A small hole near the base of the pipe gives us access for the electrical cord, which is just 18 gauge lamp cord.
If I were doing something like they did at the CMA’s, I would probably use a bunch of PVC T’s and a PVC base. That would enable higher densities and nice long rows of lights.
From time to time, people ask me where I come up with the ideas for our stage designs. I will let you in on a little secret—I’m not a stage designer. I’m not much of a designer of any kind, in fact. However, I have learned the art of adaptation. When I see a set idea I like, I catalog it for future reference, then figure out how to implement it. I’m a really good implementer. I’m not great at coming up with the initial design idea. But I’m really good at figuring out how to adapt it to our stage, build it with the time, money and tools we have available and work it in so it looks good. One has to play to one’s strengths…
Where to Steal, er, Borrow Designs from?
For sure the best spot to grab ideas from is Church Stage Design Ideas. Long URL, lots of possibilities. I head over there a few times a year and look through the galleries. It’s not long before I have a few ideas that I like and that I think will work for our room. Sometimes, I combine ideas from two completely different sets—that’s OK!
Another thing I’ll do is watch video online of various churches around the country. Sometimes it can be hard to figure out exactly what the set is, but all I’m really going for is visual inspiration. I’ll figure out how to make it work. Going to conferences and simply visiting other churches is also a great way to get ideas.
This is the art of adaption, not copying. I know Steve Jobs once said, “Good artists copy, great artists steal.” That may work OK for Apple, but I prefer to adapt.
Adapt Your Way to Set Design Greatness
For example, for our Christmas set this year (pictures to come in an upcoming post), I’m borrowing ideas from (at least) three different sources. I found a design for “Christmas Trees” built out of pallets on CSDI; I’m finally implementing a lighting idea I picked up from Daniel Connell at Church on the Move (his Dewey’s), and I saw a light on the CMA awards that I liked, so I figured out how to build it (again, another post). These elements all work together well, and will feel similar to what we’ve done the last two years for Christmas Eve, but will look different.
What I’ve learned over the years is that I don’t have to come up with all the ideas; I simply figure out which ideas make sense for us at the time, and which ones work together. And often, my set bears only a passing resemblance to the one I borrowed because I really just went for the feel of it, not the exact implementation. In fact, that’s where I think this gets fun.
It Doesn’t Have to be Complicated
Sometimes I think we tend to get wrapped up in coming up with highly elaborate sets that would not be out of place in a Broadway play. While that’s certainly cool—and if you want to do that, go for it!—but it’s not necessary most times. Simple elements are often best, and I really like simple things that take light well. For example, our crumpled window screen set. I saw a picture of that somewhere (I think it was Duke’s presentation on stage design at Echo), and I mentally filed it away. A few months later, I needed to change our set, so I went to Home Depot, grabbed all the aluminum window screen they had in 3’ and 4’ rolls, and three of us built the set in about 3 hours. Total cost was about $125. It looks great live and on video, and we’ll keep this up for a while (though it is coming down for Christmas).
Some of the best stage sets are very simple in concept, but they are executed very well. And that’s what I strive for: Simple sets that take light well, that we can leave up for months at a time without them looking old. Hit those marks and you’re doing well.
This week we delve into creating an atmosphere for worship in the modern church. Ancient cathedrals generate awe and wonder when you walk into them; how to do we create a similar sense in today’s buildings?