Upgrading Made Easy
Integrating old and new audiovisual equipment

By Don and Janet Beasley

What's all the hype?
Am I getting left behind?
I thought our old system was doing fine until I visited my friend's church.

Don Beasley mixing ellipsoidals and PAR cans for a temporary installation.

Do these statements sound familiar? As theatrical and technical consultants, we've heard them repeatedly throughout our work with the church community. So we listened, saw a need and created solutions, and now we want to share some of our audio and lighting secrets with you.

Audio systems have made their way into churches over the past several years, and this is undoubtedly a good thing. However, technology has changed dramatically, causing grief among those who spent thousands of dollars no more than 15 years ago on a system that is obsolete today--or is it?

Upgrades pay off for speakers, audience

Maybe your audio system is a few years old and now you have a contemporary praise band. Your system probably doesn't have that thick, quality sound you've grown accustomed to hearing in theaters and on your television. Take heart because there's a solution: add a subwoofer with a built-in passive crossover. Subwoofers handle the very low-end frequencies that produce the "thickness" of sound. The built-in crossover feature passes the middle and high frequencies on to the original speaker cabinets.

Upgrading to a subwoofer system has many benefits. It creates low-end quality sound for bass guitars, keyboards and other instruments and also enhances the lower tones recorded on CDs and tapes, providing a "deeper" sound. For theatrical settings, a subwoofer system comes in handy when it's time for sound effects like thunder, heavenly voices or even a train passing. Subwoofer systems are also popular among youth groups since the younger crowd seems to like a louder "thump."

If your sound system is considerably older, the speakers may have been designed for speaking only--hence, the term "speaker." Several older systems consist of a high-frequency speaker called a "horn." If the goal is to add richer tones without going as dramatic as a subwoofer system, upgrade to a two-way speaker cabinet. In this setup, one speaker (a horn) plays high frequencies and a second speaker (a regular woofer) plays middle and low frequencies.

The Whole Hog II and Expansion Wing are state-of-the-art moving and conventional light consoles from Flying Pig. Both are sold through High End System dealers.

When speakers are placed on the floor, sound "gets lost in the crowd." In this case, it is loud up front, then travels directly under the pews or chairs and is absorbed by the people in the first few rows, leaving no sound for the back of the room. Placing these same speakers on stands helps some but still presents a slight loudness problem for the first few rows and is too soft for those in the back.

The best setup for evenly distributed sound is to hang ("fly") speakers from the ceiling or walls. The overall performance of flown speakers far exceeds that of floor or stand placement since this configuration allows the user to aim the speakers correctly. Flying speakers helps control--not eliminate--the popular echoes of "Turn it down!" from the front rows and "Turn it up!" from the back.

It is important to note that some speakers are now specifically designed for hanging in both small and large churches. These are sold pre-approved with flyware already installed, which is crucial since there are always safety factors to consider with overhead gear. Also consider hiring a rigging company to assure proper installation.

If the goal is to perform an upgrade that offers fine-tuning capabilities, an equalizer (or "EQ unit") fits the bill. A 31-band EQ is the most common. Running an EQ inline between the console and amplifier helps level the highs and lows throughout the overall frequency response of a system and helps fight feedback.

A real-time analyzer aids in setting the room EQ levels more efficiently and controlling feedback. These analyzers are made to capture frequencies in the room and also give a read-out to use for setting the main speaker equalization.

Even after EQs and real-time analyzers are performing at their fullest potential, feedback has still been known to occur. The audio industry has developed feedback finders (or "destroyers") that automatically locate the frequencies feeding back and apply notch filters to lower these frequencies. Feedback finders are similar to EQs but offer a more hands-off approach. Use of these units requires an insert function on the console, and they can be used on one microphone while not affecting other mics or inputs on the system.

Upwardly mobile microphones

Allen & Heath's GL4000 mixer is available in 24-, 32-, 40- and 48-channel options.

Don't overlook the opportunity to upgrade microphones. A simple change in make and/or model can make a noticeable difference not only for the speaker but the listening audience too. For example, if a wireless lavaliere is being used and problems are still occurring, consider changing to a wireless headset mic. Similar to a lavaliere, the hands-free design is key but it also offers additional benefits--better sound and more control for the audio technician in terms of tone and volume. The biggest benefit of all is that feedback is virtually nonexistent since speaking volume is louder when it enters the mic. This leaves the audio technician more "room" to increase the gain before feedback occurs. In layman's terms, this means the user can run the sound system louder before that annoying squeal assaults audience members' eardrums.

Wireless microphones have come a long way in terms of quality and cost. Just like computers, churches can now buy higher quality for less money. Consider investing in a unit that presents the option of choosing from several frequency channels. Should the user encounter interference on one channel, he can simply switch channels to a different frequency instead of buying a new microphone and base unit. For a few extra dollars, it is possible to purchase a unit with removable antennas for freedom of antenna placement and to avoid dropout problems.

Large diaphragm microphones, normally seen in recording studios, produce thick, rich sound, and several models are available within a reasonable price range. The difference in sound is quite noticeable to performers and listeners, and we have helped churches by guiding them in upgrading to large diaphragm microphones to add to choirs and also for use in theatrical productions. After doing so, audio technicians received several compliments from choir members, directors and congregation members on the full, improved sound.

Look around your church: are microphones outnumbering console inputs? No need to worry. Over the last few years, console manufactures have introduced designs specifically for churches. Right now, 56 inputs are available in one unit for just under $6,000. If this sounds like a hefty investment, you should know that this console is now available for three to four times less money than it would have cost even a few years ago.

Monitor progress

There is a lot to be said about monitor upgrades since greater technology is now available. Contemporary-style worship bands have brought forth the need for more monitors since, as a rule, the more individual monitors, the better the overall sound. Each musician and/or vocalist wants to hear a different mix of instruments and vocals in his/her monitor to help deliver the best possible performance. Currently, most consoles are being used to the fullest extent with no additional auxiliary sends available. In this dilemma, a monitor console may prove an effective upgrade.

Concert audio rigs often use a "splitter system," which splits the audio signal into several different directions to different consoles. A few console manufacturers have designed a model capable of splitting the audio signal from the console itself, a smart concept since it requires no extra cost for a separate system.

Most audio systems using a separate monitor console place the unit and operator near or on the stage. This means that an additional operator and some extra stage space will be needed. In the event that neither space nor an extra operator is available, it is possible to operate the monitor console next to the main or front-of-house console, thereby adding additional monitor sends.

In-ear monitors are also new to the church market and becoming not only popular but affordable. When investigating the cost of amplifiers, speaker cables and floor monitors, these mics start looking even more attractive. In-ear monitors are akin to wearing Walkman-type ear buds and they may take a little getting used to. Their safety is the real plus due to the volume level. Stage floorspace is freed up, presenting the same freedom that wireless microphones offer. Listening audiences also enjoy hearing the front-of-house main mix without bleed-over sound from floor monitors.

Between the stage and the tech booth, a communication system is an upgrade worth considering. Com systems are available in wired or wireless styles. Wired systems are perfect for stationary techs and stagehands, and cost much less than their wireless counterparts. Com systems allow for non-distracting communication between technicians and backstage. Using a standard microphone line and plugging into an open audio snake channel renders running a separate line unnecessary. Also consider simply renting a system for special productions.

Lighting moves into the new millennium

Among all these other proposed audiovisual upgrades, lighting could often benefit from a "facelift" as well. Upgrades can be made to existing lighting to turn the current podium shot into a stage wash, or it may turn a concert-style system into a full-scale theatrical production grid. All of this is possible with fixtures, consoles, dimmers and more.

Most churches are drawn to PAR cans because of their comparatively low cost. Indeed, these are excellent choices for their original intended uses, concerts and stage washes. Today, however, with multimedia and theatrical productions experiencing a giant leap in popularity, churches are discovering that their current PAR cans are not producing optimum end results. This does not mean they need to be done away with, however. Rather, it heralds a need to upgrade by adding ellipsoidal fixtures, which are normally three times the price of a PAR can. While the price may be a hindrance, consider it a worthwhile investment since these offer much more versatility for designers and technicians.

Why are functions like those listed in Figure 1 considered assets when it comes to upgrading? Here's an example: the pastor is going to give an illustrated sermon from center stage. Simultaneously, a PowerPoint^®presentation will be running on the screen located stage right while a live drama is taking place stage left. If only PAR cans are available to light the stage, the slide show may be "washed out" and bleed over into the drama area when it should be dark.

In this scenario, a more appropriate equipment setup would be four ellipsoidals--two focused on the pastor and two on the dramatic presentation. Because ellipsoidals offer a shuttering feature, the light beam can be engineered to shine in a rectangle shape on the pastor, keeping it from spilling over onto the screen and drama areas.

Shuttering is a great way to be able to "crop" the light from spilling over into unwanted areas. Ellipsoidals enter the realm of using gobos--small metal or glass discs containing a cut-out pattern or picture--for texture. Gobos are placed in a holder and then inserted in front of the bulb into the ellipsoidal fixture itself. The pattern cut in the gobo can then be focused to have a soft or sharp edge.

Another plus: both PAR cans and ellipsoidals run on the same types of dimmers and consoles. Remember, the object is to mix old and new equipment, so there is no need to "ditch" your current PAR cans. Ellipsoidals and PAR cans work well together for full theatrical productions. For example, there are many occasions when only the solo performer will need to be highlighted and the background faded to dim. PAR cans offer a beautiful stage wash for just such occasions.

In the event that a church has maxed out its dimmers and console completely, there is certainly still room to grow. Consider an upgrade of moving or intelligent lights. A moving light upgrade is probably the most impressive--and the most noticeable--to viewers, adding a cutting-edge appearance to any worship service or thea- trical performance. To upgrade into a moving light system, the budget must allow for coordinating fixtures and a compatible console.

Dimmers can be one of the best investments, since these are what give lighting technicians the ability to perform creatively. Using dimmers, fade rates, brightness and multiple fixtures activate simultaneously at the touch of one button. Dimmers are designed in "watts per channel," and if a dimmer is listed as a 2.4k, this means that each channel on the unit can handle up to 2400 watts of light.

Consoles should be investigated carefully before upgrading. Start by assembling a "wish list" of features while operating the current console. Chances are, those features are available on newer models.

Before any upgrades are made, contact a consultant. Money spent upfront on a professional can save you time, money and headaches down the road. Regardless of church size, stay educated even if you're currently using technology or looking to add it to your services. Most importantly, when it's time to upgrade, have fun! This is a wonderful opportunity to use your imagination and be creative.

Don and Janet Beasley are the founders and owners of MULTI-TECH Productions by D&J, Inc. and the developers and instructors for the "Backstage" technical training facility for churches. Call (352) 394-5106 or visit www.your-vision.com for more information.