The Buzz: Installation Spotlight: The Grove Community Church, Riverside, Calif.
Jul 1, 2008 12:00 PM, Staff Report
From the stage, orchestra pit, and catwalks, there are 100 microphone inputs that are connected to a Whirlwind E Snake system and then routed via an EtherSound-based network to the PM5D at the FOH. In addition, there are 16 Shure U4D wireless microphone systems routed through the network.
“The flexibility of an all-digital system is a wonderful thing when you have elaborate events booked back to back,” McInteer says.
On stage, two Crest Audio XRM mixing consoles reside at the monitor position to create a 24×12 monitor mix for the Aviom system. In addition to the Aviom A-16II personal mixers are four channels of Shure PSM 600 in-ear monitors that are controlled using Aviom A-16R and A-16CS mixer controllers.
“I love not having to mix wedges,” McInteer says. “The musicians have everything they need. They love having control over their own mix, and the stage volume is a lot lower.”
Equally elaborate are the theatrical lighting and video components of the system. Two Christie Digital DW6K HD, 7000-lumen projectors and one Christie Roadster S+12K 12,000-lumen projector shoot video in a 16:9 widescreen format onto a total of three screens (one main screen in the center and two side screens). Two Analog Way Centrix seamless switching systems help manage the video content. The lighting system is composed of three ETC Sensor SR48+ dimmer racks, an ETC Unison control system for the architectural controls, and the ETC Congo theatrical control console.
Two JVC GY-HD100U HD cinema production cameras record the services. Video is distributed throughout the building and to the projectors through a Magenta Research system. All video content is displayed using Song Show Plus software on a PC tower.
As is often the case with projects such as The Grove, timeline issues posed a significant challenge for CCI and its client.
“Our main obstacle was the overall schedule compression that happens with large projects of this nature,” Pearson says. “Everything comes down to the wire and needs to be done very quickly — this is certainly not an uncommon occurrence, but is challenging nonetheless.”
“Our project was running behind its construction schedule and this caused the AV team to accelerate its schedule to meet the opening-day deadline,” McInteer says. “The CCI crew was really good about working around the building construction crews so they could keep up with the schedule that was given to them.”
Training volunteer-based tech crews is another common challenge in house-of-worship installations, and the project at The Grove was no different.
“Initially, during the planning, we were worried about the learning curve of the new gear and getting the right training for our tech crews that run the equipment during service,” McInteer says. “We ended up having training days before we opened and the techs were awesome at picking up the new gear. With training from CCI and some rehearsal time, services have run terrifically smooth.”
McInteer adds that the collaboration between CCI and the church could not have been a more successful endeavor. “To me, with a project of this size, communication is crucial — and CCI answered every call and email quickly and knowledgably,” he says. “The gear has been really adaptable to all of the various things we have thrown at it, and our staff at church has been really pleased with the outcome of our time and investment in a system that has fit our needs well. The JBL speakers have great coverage and sound great at any volume we run them at, the video system handles anything we can throw at it, and the Christie projectors really look great.”
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