Sound & Communications October 20, 2008 Issue

mended a solution, and the integratoradded custom-sized felt strips to thehardware. “The felt-wrapped hardwaresignificantly reduced the rattling atlow frequencies, such as music fromthe organ,” Purdom said.The array is designed with thechurch’s future growth in mind. Duringa second phase of construction,five years or more down the line, thechurch plans to add a balcony, increasingoverall seating capacity to aboutThe larger stage in Mile Hi Church’ssanctuary gives the church more space,permitting it to showcase a full praiseband, featuring vocalists, guitars, hornsand cello, plus a grand piano and organ.A pair of 16-foot-wide rear-projection screens flanks the stage.2100. Although the top two boxes ineach array are aimed at the futurebalcony area, right now, that space isa solid wall, which created undesirablereflections. “We turned off themids and high on those two boxes, butleft the low mids for aiming considerations,”Purdom explained. “After wetrimmed the high end of those boxes,it diminished the reflections.”A Yamaha M7CL digital mixerhandles front-of-house sound for thechurch, several steps up from the facility’sformer analog consoles. Formerly,separate consoles were required forPA and recording. The M7CL handlesmixing duties for both on differentlayers. Marschall said that members ofhis tech staff and he attended a localYamaha training class, and Ford AValso provided in-house training.With the larger sanctuary andexpanded sound and video capabilities,Mile Hi Church also expandedits technical staff from two full-timepersonnel (Marschall and his videocounterpart, Joel Siemion) to eightpaid staff members and two volunteers.Marschall admitted that it took“some time and effort” to get thestaff up to speed on the console,but using Yamaha’s Studio ManagerSoftware made it easier. “It was abig help for my staff members toopen the files at home, on their owncomputers, and see how everythingis set up on the console without havingto sit at the console. There’s avisual reference for them to view andlearn at their convenience.” Usingthe presets in the system also makesit easier for the audio coordinator tochange the stage configuration foreach service.This was one of the AV industry’sfirst applications to include Aviom’sPro64 in-ear monitoring systemwith the 6416m mic input module.The system also expands thechurch’s capabilities and helps makeMarschall’s life easier, too. “It allowsthe band to adjust its monitor mix toits needs quickly and easily, withoutasking me to do it. I can concentratemore on mixing the house,” he said.The system includes the Pro64digital snake and two of the company’snew 6416i line-level mic inputmodules, providing 16 balancedline-level analog inputs for the audionetwork. Audio content from themixers is routed to the network fromthe M7CL through 6416Y2 A-Netcards. The ASI A-Net Systems Interfacetranslates the A-Net data to thePro16 format used by the personalmixers.Rounding out the sound systemsin the sanctuary is an LT-800-072Assistive Listening Transmitter fromListen Technologies.The video system rivals the newaudio system in the sanctuary interms of quality and capabilities.Dual 16-foot rear projection Da-Litescreens sit at either side of the stagefor image magnification and PowerPointpresentations. Projectionrooms carved out behind the stagecontain all the necessary equipment,including two Barco SLM R12+Performers projectors with BarcoR9842040 lenses. Purdom noted thatthe client found both the space and22 Sound & Communicationswww.soundandcommunications.com