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Worship Sound System Upgrade: Monitoring and Control, Part 2

Oct 18, 2012 10:57 AM, With Bennett Liles

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OK, so when they get everything going in there, how big is the band? What kind of sound sources have you got to deal with?

Oh, it’s a full gospel band, a 100-voice choir with the guitar-based drums, a B-3, two electric keyboard players, and a guitar player, and they host all the contemporary Christian artists that tour the New York area, so there could be CiCi Williams, there could be Hezekiah Walker in there. They have a lot of music, and it’s a really great venue because it’s really not a bad seat in the house. They did a lot of acoustic treatments with sound panels on the walls. It’s really a wonderful looking place. I guess if you went online you could probably look at the pictures, but it really is cool looking place. It’s set up for television, it’s set up for concert, it’s set up for worship. It’s really well thought out. [Timestamp: 5:38]

And they do a weekly broadcast there, so how do they set up the broadcast? Do they have a separate TV control room and how do they get the sound to the broadcast?

Separate TV control room. Joseph sends out a mix from the FOH. He built a mix to video where they take it. I believe they, I think they have a ProTools set up. I am not quite sure. I didn’t investigate that fully, but I believe it’s a ProTools rig; they have the high-def cameras and the switchers, and they produce their own shows and I think he gets to put on gospel cable TV. They are a very legitimate force in that industry for sure. [Timestamp: 6:15]

Well, with as big a membership as they have, the broadcast is almost essential because there are always going to be so many people who can’t be there in the church; so that’s a huge part of it. So what was the timeline on this? Did you have get in and do it quickly or what was going on as far as events in the church?

Well, you know, Bennett, to be honest with you this job took about two and a half years from the original meeting to get it done. We started looking at it in 2008 and then of course the financial meltdown and everybody got real nervous about spending any kind of large dollars on anything. They put a [hold] on that and then we got back in there on 2010. Back in 2008 we had spec’d the same system that we spec’d in 2010 with the exception of we used the Nexo NX 4x4 amplifiers. With this whole rig, the whole FOH rig is working on two amplifiers. They’re four channels, super high power, built-in processing; it’s almost a set-and-forget situation. We put in the parameters to the system. We locked it into the processing. They have never ever gone into the processing to change anything. Out of the box we used the resources of Joe Rimstidt, who is a brilliant guy when it comes to large format line array systems. He has a resume a mile long. He’s just a really, really great guy and we use his resources a lot. And with the NX software and Joe’s help and Yamaha support we were able to come up with a very, very solid great sounding rig and it’s bullet proof. It’s been working for months and months and months. We haven’t had any issues whatsoever. They could just keep commenting on how much more they like it. So it’s really a great—for an install it’s an installers dream. [Timestamp: 8:09]

Well, it’s a whole lot going on every Sunday and probably a lot of things in between, and it’s got to be fun for them to have what they need to do it just the way they want it. So what’s coming up for Boulevard Pro? You’ve had a lot going on with this one so what have you got up your sleeve here?

We’ve been doing a lot of churches and schools. We do a lot of jobs like that. We really do enjoy them because some of the jobs that we do are very large, some of the jobs that we do are very small. We love doing a high school auditorium where we’ll do a projector, a screen, and a digital console and a sound system. We’ve done 5.1 sound systems in schools because we do have a home theater division of the company where we understand that. We never wanted to be residential guys, but doing corporate board rooms and doing the type of installations that we do that we always get called in to do—we do somebody’s, a CEO’s, boardroom and they say can you do our house in the Hampton’s and so we understand the 5.1 technology and we understand the production, professional production, environment. My brother Anthony runs the rental side of the company where we do large sale concert events. We do, in New York City, we were named Sound Company of the Year for the northeast region, which is from D.C. to the top of Maine. We do a lot of music for corporate; this last week we did Jane’s Addiction, we did Ted Nugent; we’re doing Johnny Winter and Edgar Winter in the local theaters. We’ve always tried to market ourselves in the middle market. The middle market is the 3,000—you know 1500-5,000ft. arenas or theaters or outdoor venues and that market since the economy has slowed and the music industry has changed so much that bands are touring constantly and much bigger bands are playing smaller venues. So with the production side rocking and rolling and doing well and the installation side we’ve seen over the last couple of years that being diversified has helped us because I am going to be honest with you, it’s not been easy for any company that’s in business and especially a company in our neck of the woods and we’ve managed to grow during this depression and not by waiting for something to happen by making it happen. So we’re very proud of that as well as everything else that we do. [Timestamp: 10:35]

That’s the way you have to play it nowadays and it’s great to have you here to tell us about this project at the First Baptist Church of Lincoln Gardens in New Jersey and it’s James Cioffi from Boulevard Pro. Keep it going James. You had a good one.

And thank you very much. If you’re ever in New York, let’s take you to dinner, OK?

You got it!

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