ProAudio Review - February 2009 - (Page 54)

www.proaudioreview.com Pastor Milby delivers the message with Meyer Sound cabinets overhead. hear everything clearly.” A variety of analysis and prediction software was utilized during the project. “We used both EASE and Meyer’s MAPP [online acoustical prediction] applications to determine coverage patterns through the two spaces,” Gallagher says. “MAPP is two-, rather than three-, dimensional, but offers much more acute results [than] competitive software. EASE offers 1degree resolution. We developed a single-plane iteration that was highly accurate, with results that accurately match the final results in the completed auditoria.” The first-floor auditorium serves as a multifunction room. It features a left-center-right array of flown Tannoy Power V15 self-powered, two-way cabinets flown above the stage area, augmented by a pair of Tannoy VS18DR self-powered subwoofers and four EAW JF80 front-fill units powered by QSC amplifiers. The V15 cabinet features a single 15-inch point source, constant-directivity PowerDual drive unit that offers a wide dispersion coverage pattern and high power handling. The VS18DR direct-radiating subwoofer is designed to partner V Series full-range speakers with an extended frequency response to below 30 Hz, while the JF80 ultra-compact passive two-way cabinet features a pair of 6.5-inch LF drives and a single 1-inch HF driver on a 100 by 80-degree waveguide. Once again, a Symetrix Symnet 8x8 loudspeaker processor provides signal distribution. Stage monitoring also is handled by an identical Axiom A-16D system to the second-floor sanctuary, with four Tannoy Power V8 floor wedges. A 40-input Yamaha MC7L-32 Live-Production console handles FOH duties. “The first-floor room is rather shallow,” Dunning recalls, “with a low 9-foot ceiling height. We faced a number of line-of-sight issues for the PA system and video projectors. We opted for an expanded LCR cluster of Tannoy trapezoidal enclosures with dual 15-inch drivers, augmented by the EAW front fills. There was a lot of acoustic treatment on the side and rear walls that reduced sound reflections and controlled the sound coverage. But the shallow dimensions and low ceilings meant that the aiming of the Tannoy array was critical. We ended up installing a suspended acoustic-tile ceiling, with 2 by 2-foot sheet-rock panels on top of the tiles. That configuration dramatically reduced LF transmission and cut down the HF bounce. “The Tannoy V12 is a very efficient, great-sounding box. Being self-powered, they offer good value and are hard to damage! We fired them towards the back wall, using an EASE model to refine the coverage patterns.” Summarizing his experience on the project, Dunning cites three major challenges: “First, we came in rather late, with a lot of the infrastructure already sorted out. We needed to work with the existing conduits; we couldn’t dig holes or troughs into the slab that had already been poured in the second-floor sanctuary, for example. Secondly, the first-floor room’s low ceiling meant that we had to pay particular attention to placement of loudspeaker cabinets and projectors to take into account important sight lines, since some areas would be optically and sonically shadowed. Thirdly, we needed to anticipate the skill levels of the church’s operators by setting up the system using the SymNet processors and then lock out the DSP settings. Once analyzed and aligned, we felt that we should offer no user adjustments. Also, the Yamaha consoles selected are very easy to learn; pretty much anybody can jump on FOH and run the systems.” “The Summit Church in Fort Myers is a unique house of worship,” Dunning offers. “Being a quick-growth church we knew that time was of the essence. Don Allensworth is an experienced house-of-worship consultant who led a team of experienced professionals, making it an easy installation for the pastor and executive committee.” “Putting in the Meyer system has been tremendous,” pastor Milby concludes. “It’s such a live, clean sound, with no distortion and power to spare. High-quality sound is very important to our ministry. The project was a positive experience; the design and installation of both rooms was fantastic. Pro Sound couldn’t have provided us with better systems. We plan to use Meyer and Pro Sound with every future project at Summit Church.” 54 ProAudioReview | February 2009 www.proaudioreview.com http://www.proaudioreview.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - February 2009

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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