| By WorshipAVL
the 15° x 90° (HxV) dispersion
characteristics, ensuring the acoustic energies are not directed towards the ceiling.
Just three 4 x 1,000W LA4X
amplified controllers provide sufficient headroom for all eight 450W RMS Arcs cabinets and four 700W RMS SB18 subwoofers. In addition, the three controllers come equipped with remote control and monitoring capabilities courtesy of the Cat-5 connection to the LA Network Manager 2.5.2 software including the latest 2.8.4 firmware and 5.8 preset library.
Set up for Redemption Hill Church’s
operations starts three hours in
advance of the first 9.15am Sunday
church service. Located on level
three of the hotel, the church
headquarters are home to 17 full and part-time staff who perform
a multitude of administrative,
technical and theological tasks.
The offices also include a purpose built rehearsal space equipped
with ceiling-suspended QSC K10.2
speakers and a Yamaha LS9
console, together with a storage
facility for all the audio, lighting and
video equipment used each Sunday.
The mobile setup mirrors a touring
production facility rather than a
HOW. It distinguishes Redemption
Hill as a rather unique and
somewhat committed enterprise that can easily adapt its style of service should it require to do so. Titus Tiong’s (RHC’s service operations manager) initial task each Sunday at 6.00am is to transfer the flight-cased Yamaha CL5 console up the service elevator and connect the Cat-5 cabling to the Rio3224-D audio input–output box on stage. The 32 microphone inputs are more than sufficient for the worship leaders, singers, and musicians. With the
addition of a Cisco SF302-08MP
switch and the MY8-AE and
MY16-AT cards inserted respectively into the rear of the console and I/O box, a
SB18 subwoofers provide low-frequency extension down to 32Hz
Dante network is established with
the L-Acoustics speaker system via
the LA4X amplifier controllers. Audio
signals can also be routed to the Cry
Room and the level-three facilities.
‘As we are simply one user
operating in a multipurpose venue,
it’s important that we minimise the
amount of equipment needed each
Sunday and that it can be easily
set up,’ comments Tiong. ‘Since we
started employing this setup in late
2017, we have sped up a lot and
further simplified it over time.’ While
Redemption Hill’s system operates
over the Dante digital network,
the hotel ballroom is served by
an analogue setup. However, with
the addition of a Yamaha MRX7-D
processor, digital control has been
enabled, providing four user presets
via a rear wall controller.
All the equipment is flight-cased
including the portable Roland
electric drum kit and the keyboard.
Equipped with wheels, these mobile
stages were custom-designed and
built to affix to the front of the stage
left and right locations. Crucially,
their dimensions had to fit within the
service elevator allowing for transfer.
A brake-lock mechanism ensures
they stay in position once set up. A
Radial Pro D8 direct box connects
the mic inputs from the drum kit to
the Rio3224-D, while two Radial J48
DI boxes connect the keyboards.
Two mobile lighting bars remain
in the ballroom at all times and are
populated by eight EK Lighting 18QX RGBW LEDs and four Silverstar
Frenzo ZE2 Fresnel LEDs taken out
from storage each Sunday. Simplified
lighting management is provided by
a ChamSys MagicQ controller set up
next to the Yamaha CL5 console at
the rear of the ballroom. ‘Setting up
the lighting bar initially took us some
time to master, but now we simply
raise it into position and fix the
lights,’ furthers Tiong.
For its visual requirements, the
church prefers an SDI signal path,
while the hotel continues to operate
over a VGA network. The divisible
ballroom is equipped with two
electrified L-R screens should a
partition be required for separate
events. This is ideal for Redemption
Hill’s needs as they simply patch into
the installed video infrastructure in
order to display lyrics and images
during the three, 90-minute services.
Therefore, the main addition
required for full video production is
a Datavideo SE-2200 switcher. This
accepts up to six PC and camera
inputs prior to output on the overhead projectors, while a Kramer VP-200K serves as a distribution
amplifier for the computer graphics and Datavideo DAC-60. In addition, DAC-8P units provide HD/SD-SDI to VGA and SDSDI to HDMI video signal conversion.
Ensuring a clean appearance on
stage, monitoring is exclusively
an in-ear setup. While the worship
leaders and singers prefer a Shure
PSM 1000 diversity wireless
system combining P10R and P10T
bodypack receivers and transmitters,
the musicians benefit from myMix
personal monitors connected to an
IEX16L-A 16-channel input expander.
Five channels of Shure QLXD4
wireless are available for which the
singers and worship leaders use
Beta58 handhelds, while Pastor
Simon conducts his sermons via a clip-on WL185 lavalier condenser.
Eight iOS tablets are used by the
musicians and singers on stage,
negating the need for physical printed scores. These are downloaded with the OnSong App, which not only synchronizes chords and streamlines performances, but it also allows the worship leader to update a song during the service.
‘We were initially worried that the
weekly transformation set up prior to
Sunday services would be too much
for our volunteers,’ Tiong confesses.
‘However, our continued dialogue
with Robert and then PAVE really put
our minds at ease. Stephen Teo and
the PAVE team fully understood our
requirements and created a system
we are more than happy to operate.
When you’re having to set up and
dismantle a full AV and lighting
system, it’s paramount that you
minimise the equipment required and that it all serves a purpose.’
Now fully experienced and
rehearsed in their Sunday operations,
the time needed to prepare has
reduced sufficiently to allow a window of opportunity for breakfast ahead of the first service.
The Yamaha CL5 console at FOH is rolled in and out each Sunday
Two mobile lighting bars remain in the ballroom at all times