www.psneurope.com
June 2013 l 53
installationfeature Faith value
Phil Wardconsiders the house of worship market and its growing belief in pro-audio techniques of every kind
IRONIC, ISN’T it: multichannel audio for monotheism. But while that’s literally true of the rapidly expanding adoption of sophisticated sound reinforcement and AV across Europe’s churches, chapels and cathedrals, it has a metaphorical ring to it too. Pro audio is, of course, agnostic, so in one sense it doesn’t matter that humanity has contrived to divide a single, universal deity into a thousand different denominations: a long echo is a long echo, regardless of the liturgy. That said, some churches bang the tambourine louder than others. America’s Bible Belt across the south-eastern and southern central states is a recognised phenomenon: rich country, loud voices, lots of DiGiCo and L-Acoustics. But as you head east the clamour, and the budgets, diminish. This leaves a market in Europe with two main tiers: a cupola of high-profile, highly sensitive monuments for which sound reinforcement has to enter quietly, keep out of sight and genuflect on the way out; and a congregation of tight- budget, semi-professional and volunteer ministries on every corner, ranging from the pious asceticism of a single lecturn mic to full-on Baptist razzamatazz.
PULPIT ON A STRING In (well, near) the beginning, God created the microphone and the amplifier. Kim Muurholm Jürgensen of Danish Interpretation Systems, for example, says basic conference units can benefit the worship leader. Referring to the DM 6622 gooseneck and the DM 6020 boundary microphone, Jürgensen points out that these single units from a basic conference and interpretation system can be used for worship leading as a simple alternative to more theatre- orientated models. “If you’re not performing in the entertainment sense, a basic conference microphone is perfectly adequate,” he says. “It’s
really very easy to use. The only thing you need to worry about, as the user stepping up to use this conference unit, is to push down the ‘speak’ button. When the light is on, you’re ready to speak.” When it’s not about seeing the light, it’s about headspace. The AV industry is currently undergoing a major shift from lavalier to headset mics, at least as far as worship applications are concerned. “Headset microphones are easier to handle,” evangelises Sebastian Schmitz, product manager for
An Electro-Voice sound reinforcement solution in the new-build St Andrew's Church in West Sussex, UK
sound and video at the Grand Theatre De Provence, speaking immediately after pointing them at the Estonian Philharmonic Chamber Choir in Aix-en- Provence, “DPA Microphones’ Reference Standard series is for me unbeatable. My preference is towards the 4011s, with their very precise and neutral vocal tones.” Worship bands today contain
“As worship events become more complex, full duplex operation is being asked for more and more” Mike Reay, Canford Audio
microphones at Sennheiser in Germany. “They provide a much better feedback rejection than lavaliers because they can be positioned close to the mouth, which is a valuable asset in rooms with a public address system.” And, of course, choral hygiene is essential. Capturing a choir demands a good insight into how to avoid the many pitfalls of exposing open microphones to such a huge variety of sound pressure levels, frequencies, background noises and human personalities – and for this application, according to Thomas Goeuriot, director of
an abundant mix of traditional, modern and even exotic instruments, all vying for attention with the powerful focus of a pastor, lead vocalists or a choir. The mics can therefore be as specific as you like, such as the Earthworks PM40 PianoMic. “For a piano, the PM40 is the easiest to place with no mic stands on stage and the best solution for high-quality sound without feedback,” points out Craig Breckenridge, audio product specialist at Earthworks. Going wireless in a typical house of worship, meanwhile, has unique advantages. “In fact, the wireless microphone can lend an additional safety factor in the HOW environment,” prophesies Gordon Moore of Lectrosonics. “Reduced stage clutter means less chance for tripping hazards. Wireless IEM can reduce stage and PA volume levels, reducing liabilities for hearing damage, and wireless microphones near baptisteries can even reduce shock hazards.”
FONT OF HOUSE DiGiCo technical director John Stadius says HOWs are perfect for the lower-cost, higher
Westminster Abbey’s audio system is under Crestron control
performance consoles emanating today. “Our new, low price points reflect the advantages of FPGA technology. The SD11, audio-wise, is exactly the same quality as the SD7 but there are fewer channels and less bussing – which for this market is fine.” “How do churches keep up with technology when they’re facing fundamental challenges of growth, sound quality, difficult acoustical environments, tight budget and a volunteer staff to operate their sound systems?” asks Akira Matsui of Roland Systems Group. “The answer is value: a future- proof and expandable system
that sounds great, is easy to use for volunteers, reasonably priced and is a breeze to install – like the Roland V-Mixing System/Digital Snake System. Products using REAC technology are installed today in many churches.” Indeed, worship is hi-tech.
“We’re already seeing engineers using tablets to operate consoles where a traditional mix position isn’t possible,” says Karl Christmas, senior manager at Yamaha Commercial Audio (UK). “Yamaha’s StageMix iPad app has been exceptionally successful, but it is used to control a hardware mixing
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