ProAudio Review - February 2009 - (Page 53)

“Audio is everything,” considers Todd Milby, Summit Church’s mission leader and teaching pastor. “When it comes to our weekend gatherings, the audio/ video/lighting experience needs to be flawless so the message and overall worship experience will have maximum impact.” contractor. We worked with Brian to specify a compact but highly flexible configuration that included three Meyer CQ-2 loudspeakers, six Meyer UPM-1P loudspeakers and two Meyer 600HP subwoofers. The combination worked out very well.” “When we first saw the space assigned for the sanctuary [on the upper floor],” Dunning recalls, “it had a poured slab, with the walls and some partitions erected plus an open ceiling. The second-floor room is fan-shaped to accommodate the large congregation, with a rectangular central area and side wings. Since the church was planning a large-scale concert in that room from a big stage, we knew that sound reflections would pose major challenges. We also used EASE to model the space.” Acoustical consultant on the project was Edward Dugger of Edward Dugger+Associates. All Meyer systems are self-powered. The trio of CQ-2 cabinets is arrayed above the stage area in a left-center-right configuration, augmented by the UPM-1Ps as four front-fills and two delay/down-fill boxes. The 600-HP subwoofers are located beneath the stage, pointing towards the audience. A Symetrix SymNet 8x8 signal processor and 12-channel breakout unit handles distribution of equalized and level-corrected signals to each of the various loudspeaker cabinets. The compact, high-output CQ-2 features a narrow transmission pattern that enables precisely controlled, high-Q coverage in problematic environments. The unit is flyable and arrayable using standard aircraft pan ring fittings. The cabinet’s frequency response of 40 Hz to 18 kHz is said to be uniform over the entire coverage area in both the horizontal and vertical axes, with no side lobes when measured at 6th-octave resolution. The LF section comprises a single 15-inch driver, while the HF section utilizes a 4-inch diaphragm compression driver coupled to a 50 by 40-degree, constant-Q horn. An integral 2-channel class AB/H amplifier offers a burst output of 620 watts per channel, and is equipped with TruPower limiting technology. UPM-1P ultra-compact/wide-coverage loudspeaker’s HF section comprises a 1-inch metal dome tweeter mounted on a symmetrical, constant-directivity horn with a 100-degree beam width. The low/mid section features a pair of 5-inch transducers that work in parallel at lower frequencies, while one rolls off above 500 Hz to prevent destructive interference due to comb filtering effects at mid-band frequencies. The 600-HP compact subwoofer features two high-power 15-inch, high-excursion, back-vented cone drivers with 4-inch voice coils, each rated to handle 1.2 KW; each cone driver is driven by a channel of an integral class AB/H amplifier with complementary MOSFET output stages. The fully active Meyer loudspeakers streamlined the installation process. “We appreciate self-powered [systems],” Allensworth confides, because they provide “a compact footprint in these environments where we don’t have a lot of space to play with. And we also don’t have to worry about amps or additional points of failure in the system; there’s just no downside to the self-powered design. “Smaller rooms are often more challenging to design for than larger rooms,” Allensworth stresses. “They tend to be much more live, with a lot less fall-off. The Summit Church holds several live concerts a week, but the objective of an advanced church sound system is to bridge the gap seamlessly between pluggedin music and spoken word. This Meyer system allows us to deliver a full rock ‘n’ roll sound, or the precise clarity of spoken word, with the same cabinets.” The sanctuary features a Yamaha Digital Live-Production console for front of house, with a Yamaha HS80M-CA powered cabinet for local monitoring. The MC7L-48 offers 48 mono mic/line and four stereo inputs plus three mini-YGDAI card slots for a total of 56 mix channels; outputs comprise 16 mix busses, LCR bus, eight matrix channels and eight DCAs. Stage monitoring is handled by a 16-channel Aviom A-16D system that links directly to the Yamaha FOH console via an A-Net interface card. Stage monitors comprise six Tannoy Power V12 wedges, and three Shure 600 Series P6TRE3 wireless IEM units with a PA805WB directional antenna and PA760 antenna combiner. Wired microphones include models from Shure, Countryman and AKG; a pair of Shure ULXPD24/Beta58 dual-wireless handhelds and a Shure ULXP14D dual-wireless body pack also is available. The hearingimpaired system comprises various Listen Tech transmitters plus tunable receivers and earphones. “The A-Net interface between the Yamaha and Aviom monitor consoles dramatically reduced the wiring between the stage and FOH,” Dunning says, “since we just needed to pull Cat-5 cables that carry the networked digital audio.” The three Meyer CQ-2 cabinets in the second-floor sanctuary are arrayed in an arc that follows the surface of a sphere centered above the stage. “The loudest source was selected as ground zero, which is the drum riser,” explains Brad Gallagher, Pro Sound Miami’s onsite system engineer. “We prefer to pull down the subwoofers to honor that loudest source, with the three main systems arrayed to maintain the onstage perspective. The left and right cabinets are assigned to replay music and effects, while the center cabinet carries vocal reinforcement. Four of the six UPM-1P loudspeakers cover the corners of the main rectangular area, with the remaining pair are on delays to cover the wide, outer wings of the audience area. The 600-HP subwoofers offer more than enough power to fill in the lower frequencies. The PA system is run in mono, which is a better choice for larger auditoriums, so that all members of the congregation www.proaudioreview.com February 2009 | ProAudioReview 53 http://www.proaudioreview.com

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ProAudio Review - February 2009 Contents From Razor Slice To Mouse Click Hot Gear At Winter NAMM ’09: Studio Prioritizing Good Acoustics In Tough Times Digidesign Pro Tools 8 Allen & Heath ZED-R16 Analog Mixing Console Mike Rivers Nevaton MC Series Studio Condenser Microphones FMR Audio Really Nice Series Pre-Amp and Dynamics Modules Mojave Audio MA-201 FET Condenser Microphone Genelec 6010A and 5040A Powered Loudspeaker and Subwoofer Massey Plug-Ins De:Esser Hot Gear At Winter NAMM ’09: Live White Space Regulation: What It Means To Us Recording Live Sound Summit Church in Fort Myers, Florida Bag End P-Crystal R Loudspeaker Mark Olson & Gary Louris’ “Turn Your Pretty Name Around”

ProAudio Review - February 2009

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