Installation Profile: New Life, New Sanctuary
Jul 1, 2008 12:00 PM, By Trevor Boyer
A church's construction became an opportunity to integrate a new all-digital audiovisual system.
The large collective of musicians who regularly perform at New Life Church had already become accustomed to its Aviom mixers and in-ear monitors. The church already owned eight Aviom boxes, which attach to mic stands and output to headphones, but the church bought an additional five Aviom A-16II units through PSG. Integrating these 16-channel personal monitor mixers with the new Yamaha board required an Aviom MY16 interface for the M7CL. PSG also had to break out to analog the signals for the church's first-generation Aviom monitors and re-encode them digitally in the equipment rack.
Besides the 16 output channels dedicated to the Aviom monitors, the Yamaha board also sends four channels to eight floor monitors, daisy-chained in pairs that each receive a mix. PSG specified four Nexo PS8U-PW 8in. two-way stage monitors to go with the church's legacy floor monitors. The pastor uses two of these boxes to monitor his voice, and some singers prefer them.
Parish describes a service that featured both the regular New Life musicians and a visiting group. Sharing the Aviom monitors was no problem. “In the middle of service, in between the switching of people, we hit a couple of presets, and everything went from our settings to their settings,” he says. “It took about 5 seconds.”
LIGHTING AND VIDEO
A single video-enabled AMX NXT-CV10 10in. touchpanel in the balcony of New Life Church controls video switching and routing, the house and theatrical lights, and a Vaddio WallView 100 pan/tilt/zoom camera that captures the service for IMAG and for direct recording to DVD. The video operator is also responsible for adding text elements — information such as the speaker and the topic — to the audio stream of the Sunday service that's webcast live. (It's output from the Yamaha board via a Sound Blaster sound card, a Windows Media encoder housed on the church's server, and the church's modest Internet connection.) So that person stays quite busy.
Fortunately, lighting setups do not change too much from week to week, which makes it simple for the video operator to choose presets via the AMX touchpanel. Of course, it's a different story during the church's occasional theatrical programs. During Easter and Christmas pageants and some concerts, an operator directly controls a Lightronics TL-2448 DMX lighting control console. This drives two Lightronics AR-1202RTC 12-channel, 2400W architectural dimmer systems. PSG Systems specified and installed 12 Altman 360Q 6X16 575W ellipsoidal fixtures and 20 Altman SP-A Star Par cans.
As for the video system, two Analog Way OVF831 8×1 switchers select a video source from among the Vaddio WallView 100 single-CCD camera, two desktop computers (for song lyrics and the pastor's PowerPoint presentation), and two DVD players (which show weekly announcements and other video that Parish produces).
The outputs of the two Analog Way switchers are routed through an AMX AutoPatch P37-0808-844 8×8 VGA/audio matrix, which sends one of the two video signals to the four Sony plasma screens (42in. and 50in.) around the complex and to the two rear-projection systems within the main sanctuary. These systems comprise two Sanyo PLC-XT25 4500-lumen XGA projectors with short-zoom lenses and Da-Lite DaSnap 9'×12' projection screens. Why two switchers? Typically, the main sanctuary projectors display the PowerPoint, song lyric, scripture, and DVD content, while the flatpanels in the atrium and the nursing mothers' room often display the IMAG of the stage.
Almost everything in the video system is connected via Cat-5 cable, which enables a high-resolution signal to be sent throughout New Life Church. PSG Systems chose Magenta Research 1x5 distribution hubs in order to send the Cat-5 signals around the facility. The bandwidth of Cat-5 allows the church's computer-based content to remain in its native resolution (1024×768), and any future high-definition cameras won't have to leave too much resolution on the table. PSG Systems says that one reason it specified Analog Way switchers is their variable-resolution output.
Parish says he does see the possibility of someday possibly upgrading the IMAG camera to a 3CCD system, although he chose not to spend the extra money this time around. Fortunately, PSG Systems thought ahead.
“If they do upgrade cameras, the camera that is at front of house right now — which is their one camera — would go to the wall onstage for the audience shot,” Hermanson says. PSG ran enough Cat-5 cable around New Life so that adding a camera will be a simple matter.
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