Worship Sound System Upgrade: Monitoring and Control, Part 2
Oct 18, 2012 10:57 AM, With Bennett Liles
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Live music with guitars, keyboards, and guest artists. The First Baptist Church of Lincoln Gardens in New Jersey has a revved up worship style and a growing membership. They called Boulevard Pro to put in a new sound system that was up to the task. James Cioffi is back with part two on the tech details, coming up right now on the SVC Podcast.
SVC: James Cioffi from Boulevard Pro, thanks for being back for part two of the SVC Podcast. Big installation at the First Baptist Church of Lincoln Gardens, a lot of live music there and rigging a whole new sound system for that. What mixer did you go with for the stage monitoring?
So we have a Yamaha LS9-32 on the stage with two Aviom cards, which will allow us to send 16 mixes out to the Aviom personal mixing stations and each one of the guys in the band has that. There’s an Aviom unit up in the television studio where they can monitor some things as well and everything’s over Cat-5. So it’s a really, very unique way of doing it. And then it’s another six or eight floor monitor mixes, which are contemporary standard mixes where there are channels of amplifiers. We use the Yamaha TN series amplifiers for monitor mixes, which we did for any of the choir monitor down fills or the stage monitors for performance or there are a couple of podiums; there are some stage monitors there and there are some monitors for the pastor as well and so there’s a myriad of in-ears and standard floor monitors working. [Timestamp: 1:59]
That’s a lot of stuff to handle and you’re working with volunteers on the tech crew for the most part, so you’ve got to get them all trained and of course churches love the Aviom system. It makes things so much easier on the monitor mixes.
It’s a very useful tool and with the LS9, it’s very easy. It’s just a card that goes in the back and it already sees the 16 mix outs, and you can send whatever you want to those mixes and it’s independent of the other mixes of the console; so it really is a useful tool. Joe Spencer, [who] is the lead audio guy there, is a very, very smart guy—understands everything about it, built the monitor mixes. The band is professional. They understand the monitor mixes. They understand that the dynamics—it’s the same band every week so they’ve done quite a bit of rehearsals. They have the thing dialed in. Joseph has the Yamaha stage mix app on the Apple iPad and he uses that to control the monitors from FOH or he can control FOH from the monitors. He doesn’t mix on it. He uses it to fine tune or to make some subtle changes if he’s on stage walking around. And then after that point the engineers that are onsite are just responding to the daily needs of the artist; there are going to be some kind of changes, but they’re not making overall broad stroke changes. [Timestamp: 3:16]
Yeah, the iPad app must be great for not having you tied down to one location when you want to make adjustments from any place in the acoustic environment.
And it’s a rock-solid format. It works really well. The Yamaha programming of their app is solid, and it’s always being updated, so you’re getting more and more access to everything on the console. It’s a very cool thing; it could get out of hand I would think—we’ve seen it. We’ve seen some people with the Apple unit go nuts with it, but I think if you use it in moderation it works really, really well. [Timestamp: 3:50]
So where is the front of house mixer? How far is it from the performing area? What kind of mic line runs have you got on that?
Well, the mic lines I installed was a standard analog Whirlwind snake that was in from the existing installation. It was done very well. They had extra channels for what we needed to do, so that part of it was pretty much a plug-and-play situation. We used existing lines and did some modifications up in the head in control room. Right behind the FOH area is another level up is a control room for the video part of the church—that’s for the video ministry and in that room is where all the amp racks are and all the head end location was, so we had to do some changes from FOH to the control room, which wasn’t very far but there was some conduit and some pull lines in it. So we pulled the extra lines that we needed and we were able to interface all the amplifiers from that location. [Timestamp: 4:46]
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