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Worship Sound System Upgrade: On Rigging and Nexo Geos, Part 1

Oct 4, 2012 2:32 PM

With Bennett Liles

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Well that’s great when something like that works because rigging is obviously one of the hardest parts of doing these things. Yeah and making it look like something at the end of the day was another thing. It’s a beautiful environment, and there are some pictures around of that and I think there was an article or two in the press, but there are some pictures. It’s really a wonderful looking space. The subs being in that cavity really helped. [Timestamp: 5:38]

OK, now what did you decide to go with on speakers for this? You went with a Yamaha system?

We’re a Yamaha commercial sound dealer, and we do a lot of business with them. We have a very good relationship, and we speced in a Nexo GEO S12 line array system. We have five cabinets per side; four of them are the GEO S1210s and there’s a GEO S1230 to down fill on each side. We use all the Nexo flyware, the Expo boxes, and their touring bumper, and it was a very complete system. We used the Nexo NS1 software to do a analysis of the room and decide where the proper location and camera and tilt would be, and it worked out pretty well. [Timestamp: 6:26]

You mentioned that they didn’t mind seeing the speaker arrays. I guess that’s a very contemporary worship style they have going on there. I would think that with the more traditional churches it’s a lot easier when they don’t have all the live music.

You know, it’s really about the horsepower. These guys, this is as much level as any rock concert. It’s a serious gospel band, full band, full drum set, bass player, two keyboard players, B3 player. Its serious choir, over a hundred -voice choir, so it’s a lot of information and plus Joe Spencer is a very, very talented engineer and he was able to control it. hey have an onstage monitor mix. There’s also a television broadcast being done at the church, so it’s a pretty serious environment so it needed a professional space. We’re out of all the sight lines for the cameras and the lighting. That was another concern, but we’re out of all that so you don’t really see that in the show. [Timestamp: 7:21]

So in this kind of high-powered sound environment how did you set up the choir monitoring?

The choir monitoring—we used Yamaha IF2108s in white, and we hung them from the lighting rig, and you can’t even see them. The choir monitor is really most of the mix that the pastors voice—to keep him in cued in where they’re going. There’s a little bit of piano through it, but other than that, the whole environment is very up front. And there’s some floor monitors around, so there’s a lot of mixes, but we filled them in with those Yamaha’s and they worked out really well. [Timestamp: 7:58]

And you’ve got let’s see on the Geo S1230 configurable directivity?

We have two 1230s, which it’s a 100x30 degrees and the other boxes are all 10 degrees. So what we’ll do is use the down fill, put it on its own channel of processing and amplifier, and we’re able to dial in the very, very front parts of the church on a different level and a different EQ curve than the rest of the array. So we can really fine tune it. It really gives us a really sweet down fill without spilling back onto the stage and coming into feedback problems and things like that. Because the stage proscenium extends as far as the array is, because it follows the contour of the architecture of the church, this is where the old array was, in the proscenium. The stage follows it, so we had to be very mindful of where we pointed it, but it worked out pretty well. We have some front fills in as well, and there’s a barrage of floor monitors around, so there’s a lot of monitoring as well as in-ear monitoring. [Timestamp: 9:06]

A lot of live performance there, so what did you do for stage monitoring? Is it all in-ear? Have they got floor monitors, too?

Well, they have floor monitors; with the choir monitors there’s six mixes of monitors from the stage; from there is 16 mix Aviom in ear monitors that the band is using so—and they have an on stage monitoring console, a Yamaha LS9, with an Aviom card. FOH is a Yamaha M-7 48, so they’re running some full range mixes out of that to do some fills. Under-balcony executive fill on the front of the stage altar area, so there’s a lot of mixes going on. [Timestamp: 9:46]

All right, well thanks for giving us the story on the project and in part two we’ll get into the front of house mixer, the mic lines, the Aviom, and some other things they have. James, it was great having you here to tell us about it. James Cioffi from Boulevard Pro in Ridgefield, New Jersey and we’ll see you in part two.

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