A Church Audio System for Traditional and Contemporary Services, Part 2
Dec 16, 2010 4:52 PM, With Bennett Liles
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Holding a traditional and contemporary service back to back with vastly different sound requirements proved to be a challenge for Arapaho Road Baptist Church in Garland, Texas. Dispersion Design was called in to devise a quick tech transition between the two and Luke Raymond is here to wrap up his talk on how it was done.
SVC: All right, Luke—Luke Raymond with Dispersion Design—thanks for being back with me for part two on the Arapaho Road Baptist Church installation with Aviom and several other things. You’re in Carrollton, Texas.
That’s correct and thanks again for having me. [Timestamp: 1:00]
I understand now with the Aviom system on stage there, which really speeds things up in the transition between the regular service and the contemporary service and getting all your technical ducks in a row between the two. You also put in some Ace backstage floor pockets. How did that go?
So I’ve always been very impressed with Ace backstage and impressed with the quality of their product as well as the custom engraved panels that they’re able to provide. The pockets are able to provide such a variety of different inputs that it’s very nice to be able to provide a customized stage set up for whatever the church that we’re installing for is, and we can put the Aviom outputs directly into the pockets around stage and then that reduces the clutter considerably. [Timestamp: 1:49]
Yes, so well, you’ve got some twisted pair running around a little bit.
That’s correct. We decided to re-install or replace all of the audio wiring in the entire main auditorium, and there was existing wiring there as well as existing wiring to the stage, but it was 20 years old or over 20 years old, and it’s always difficult to know until you get into the crevices where these wires are going to go and what sort of condition they’re in. We replaced everything. We replaced all the audio lines, ran new Cat-5 lines as they were no Cat-5 lines existing, and that gave us complete control over where the wires were going and what quality the wires were that were being put in place. [Timestamp: 2:38]
Right, and I guess then from that point on at least everybody knew where they went whereas before that, you rarely [could] find any specific documentation on where all this stuff goes and how the wiring is done.
That is correct. We at Dispersion like to make sure that everything is very well labeled and everything is well documented, and we provide our customers with our final documentation that explains how to find everything and how everything is labeled, but that’s probably the exception. What we are finding is that a lot of installers are not doing that and so when we come in it can be quite difficult to figure out what is currently there and where it does go. [Timestamp: 3:13]
And I noticed—I think I saw this listed somewhere—you have the Aviom A16 DA net distributors. How do they fit into all this?
We have a Yamaha LS9 digital console with the Aviom card installed in it. From there, we run back to an amp room back in the back where we have two of the A16 distributors. That allows us to distribute the A-net signal to multiple outputs in multiple pockets across the stage, each of which are powered since the A-net distributors provide power to the Aviom units that are plugged into them. So the advantage of that is that there is very little, if any, daisy chain of the Aviom mixers across stage. The musicians don’t have to worry about whether or not their unit needs to have power connected to it because the A-net distributors provide the power and provides a very clean and easy set up. [Timestamp: 4:16]
And you use, as you pointed out in part one, the LS9. I believe it’s the LS9-32 Yamaha mixer?
That’s correct. Yes. [Timestamp: 4:24]
And how do the volunteers do on that? How is that for retraining people?
So we had expressed some hesitation about going with the digital console at first. The reason being is that we do find that digital is still more of a learning curve for the volunteers who have not used a lot of audio equipment before, and it can be a bit more of a technical challenge. But along with the digital console comes the advantages of being able to reconfigure very quickly, is having a large number of prefacing channels that often would cost a lot of money externally if you used an analog system, and [it] provides more inputs for the money that you would not get with an analog console and a very small footprint. So we expressed to the church, up front, some of the concerns with going with the digital console, including the fact that the price difference is still quite high going from analog to digital and impressed upon them the fact that we were going to need to spend quite a lot of time training their volunteers. So what we did is the digital console was one of the first things to be installed. Before we had even run new wiring, we connected the console up to their existing system with their existing wiring and started the volunteers running the digital console for their services from the get-go every week while we did the install. So what that meant is that they had quite a number of weeks, I believe it was about five weeks, from the beginning to the completion of the install, running the digital console before the contemporary service even moved in. [Timestamp: 6:07]
Well that was a real good idea.
Yeah, that way they had quite a lot of experience with it, and it was really necessary and because really it took that long for them to get a handle on it. We provided an operator there with them every Sunday during those weeks to make sure that they had somebody there to ask questions and to give them advice and to be there if they got themselves into trouble. And they certainly, in the first few weeks, needed somebody to be there with them, but then we found as time progressed, they were able to navigate around more easily and they were able to run things on their own. [Timestamp: 6:45]
I know that getting away from the floor wedge monitors, to some extent, reduced the clutter on stage and helped with the acoustics. What kind of a system do they have out there for the FOH sound and the main speakers?
So the main speaker cluster is a mono speaker cluster. The room is octagonal and the seating wraps around 270 degrees. When we looked at the system and looked at the budget that was available, we realized that Arapaho was only going to be able to either fix the acoustics in their room or replace their speaker system and unfortunately both needed help. We realized that if they were to replace their main speaker system. they would not be able to get a sound that they were going to be happy with because of the fact that their room sounded so bad to start with. And so our recommendation to them was they fix the sound of the room and keep their existing sound system, and what we did is we replaced all of their amplifiers, all of their DSP, and we kept the flown speakers and utilized one of their existing subwoofers from a different room. And after we had installed the acoustic treatment, we came in [and] replaced all their amps and re-configured their DSP, or replaced the DSP, and retuned the room. They found that they had a speaker system that sounded a lot better than what they started with. So they were quite surprised because they thought that they needed new speakers, and in the end, when they listened to it, they realized that the speakers weren’t really the problem. [Timestamp: 8:17]
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