Focus on Houses of Worship: Upgrading a Rock ‘n’ Roll Church
Oct 1, 2008 12:00 PM, By John W. DeWitt
“I had a really good feeling that they weren't going to use me to get an equipment shopping list,” Smith says. “They wanted someone to help them, be patient, and come up with the right solution.”
For Faith World, the right solution included a completely gutted and rebuilt control room with new flooring, walls, a console area that would house the Broadcast Pix Slate production switcher, a videowall with three Panasonic TH-42PH10UKA plasma screens, and two Avid Media Composers with Mojo SDIs.
“We loaded them up heavily to be real strong [Adobe] After Effects machines,” Russell says. “I'm an After Effects guy, so to be able to build an animated key and slide that in live, that's really key. Whatever I think of to do, I can execute. All the built-in features of the switcher were great, because they let me do anything I want.”
The solution also included three Panasonic PT-DS5700U 6000-ANSI-lumen DLP projectors with new Da-Lite screens, along with a seven-input Kramer scaler/switcher that provides a complete standalone switching station and an upgraded Cat-5 distribution system that upconverts to VGA for projectors.
The front-of-house audio station was fully upgraded with a Midas Venice control console for audio distribution and a Soundcraft Vi6 digital audio board, which enabled the church to eliminate copper and provides 64 simultaneous inputs — upgradable to 128. “[It will be able to] expand and grow with us over the next 10 years,” Russell says.
A reconfigured 120ft. truss-lighting rig is powered by a new, top-of-the-line Jands Vista T4 lighting console that replaced the church's WholeHog 2; it also incorporates around 20 new full-color mixing LEDs as truss warmers. The conventional lighting rig, which provides a wash on the stage and audience, includes around 40 moving lights purchased four years ago. This includes a mix of Martin Mac 600s, TechnoBeams Studio Spot 575s, and TurboColor 250s.
The onstage monitor console was eliminated. “We put it now on an Aviom system where each band member controls their own mix,” Russell says. “We use the Soundcraft at front of house and run the front wedges for the lead vocalists.”
The stage was rebuilt with with powered wedges, three multiplugs for subsnakes on each side wall, and a new Rosco floor that provides a flat, open surface that can be completely reconfigured for each service. “We treat the whole production like a touring rig. We can run a subsnake and drop a box, then go in the back and patch it in,” Russell says.
A 56-channel Yamaha PM3000 in the broadcast control room distributes services to the Internet, records them to Betamax, and burns live to DVDs that are immediately available for sale.
The church also installed a variety of other new AV equipment, including an Ensemble Designs sync generator, Analog Way and Gefen converters, Peerless mounts, a Hamlet waveform vectorscope for testing, and Extron equipment for converting VGA to Cat-5 or twisted-pair cabling for long runs.
Originally, the core of Faith World's upgrade — the Broadcast Pix switcher — was not on the new equipment list, but Cameron changed his recommendation and took Russell to a Broadcast Pix installation in Tampa, as well as to the company's booth at the National Religious Broadcasters Convention in Nashville, Tenn., for extensive demos. Opting for the PC-based system rather than a component-based solution gave Russell extensive built-in capabilities, including live and crawling titles and the option to upgrade to HD when the church decides to replace its existing cameras.
To handle the installation for Faith World, Cameron assembled a project team that included himself and Smith, as well as Craig Beyrooti of Atlantic Professional Audio of Altamonte Springs, Fla. (Cameron says he felt that Beyrooti was better positioned to provide the hand-holding and direct customer service required for the audio portion of the church upgrade.) Russell was, in effect, another team member as well as the client. “[He] took responsibility for all the lighting decisions and hired an installer,” Cameron says.
Both the integrator and the client are pleased with the outcome of Faith World's AV upgrade. “The control room is awesome. Ryan and Ken designed its layout, and it's really a beautiful studio,” Cameron says. As for the worship service, he says it's like going to a rock concert.
Or perhaps even better: “I produce shows in the secular market, not just church, and I sit there and say to myself, ‘Wow, we do more elaborate concerts than this artist is doing,’” Russell says. “People show up to see what we're doing, just to check it out, and it's amazing the different people you can reach when you implement current technology in a church. As long as we capture that experience and push it through the Web, we've done our job.”
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