Bennett Liles | Posted by Jessaca Gutierrez" />

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Worship Install From the Ground Up, Part 2

Feb 25, 2014 10:27 AM, With Bennett Liles | Posted by Jessaca Gutierrez

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Part 1 | Part 2

Editor’s note: For your convenience, this transcription of the podcast includes timestamps. If you are listening to the podcast and reading its accompanying transcription, you can use the timestamps to jump to any part of the audio podcast by simply dragging the slider on the podcast to the time indicated in the transcription.

South Ridge Church in Fairmont, W.V., did its homework for a big sound, video, and lighting installation. Acoustic treatment and a solid plan made a good foundation and audio team leader Kevin Kuhn has the rest of the story. That’s coming up next on the SVC Podcast.

Kevin Kuhn, thanks for being back with us for part two on the SVC Podcast from Morgantown, West Virginia, and we were talking last time about how you teamed up with Northern Sound and Light for a sound, video and lighting installation at South Ridge Church. New construction, I believe, so plenty of live sound at South Ridge Church. One of the things we didn’t get into in part one was the stage monitoring. How do they handle all that?

Keven Kuhn: Sure. Hi, Bennett. So at South Ridge one of the things I was concerned about was it’s a relatively small room. Although the stage is very long it’s not very deep and we were concerned about having a lot of monitors on stage bouncing off the back wall and back into the audience and clouding up the house mix. Part of our efforts to keep the stage volume down was to use an in-ear monitor system that also did have an impact. It influenced our console choices. You remember we chose the Soundcraft Expression for our system and that has a plug-in card for Aviom which allows us basically to take a digital 16 individual channels out and throws them up on stage so that the individual musicians have their own mix station and can mix their own monitors, which would do two things. Not only would it help with the stage volume, but also it would take a little bit of pressure off of the volunteer mixing in front-of-house, which is sometimes a difficult enough challenge aside from mixing monitors. So to be able to give the musicians that power in their hand felt like it would be a good move. So far I’m talking with the musicians themselves and the pastoral staff, and they’ve been pretty pleased with that. [Timestamp: 2:21]

And I think you went with self-powered units for the main house. Was that the situation for stage monitoring or did you go with all in-ear monitoring?

We did break it up into two types of stage monitors. I did want to make sure that they had the flexibility of using stage wedges specifically for the vocalists. Anyone who’s stuck their finger in their ear as they’ve spoken or sang knows that it sounds very strange and it’s kind of difficult to get used to. So we decided to go with stage monitors for the vocalists who would be up front, but then for all the individual musicians we went with an Aviom system for their own personal mixes. So we did use, I believe, JBL H boxes with Crown amplifiers that were housed in a rack off the side of the stage. [Timestamp: 3:12]

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