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Large Scale Arena Event Stretches Church Volunteer Technical Staff from Hillsong London’s Location
Three-day event requires large-format line array loudspeakers, and nearly fifty wireless microphone channels.
To outgrow London's Excel Centre in just four short years requires remarkable growth. But of that's what happened to Hillsong Conference Europe in 2010. Harnessing the momentum of the previous four years, the event moved across town to London's O2 Arena was for their three days. Hillsong Conference Europe is very much a family-oriented event and features a mixed program of conference, keynote speakers, rock-style celebrations, and numerous dramatic dance and theatrical presentations.
For the Sydney-based Hillsong sound team and lead audio engineer Chris Johnson, this is a substantial undertaking. "The church manages a high level of production itself", Johnson begins. "Hillsong has a lot of its own d&b equipment, and we have a long standing relationship with Wigwam to support us." Johnson organized a d&b audiotechnik J-Series loudspeaker system from UK-based audio rental firm Wigwam for the O2 event, but as he indicated it is Hillsong technicians who largely run the show.
"Hillsong holds regular Sunday services at the [2,900-seat] Dominion in Tottenham Court Road and have around one hundred volunteers who all help with the various disciplines of sound, lights and video," Johnson adds. "Being voluntary they rotate through Sundays, so at any given service there will be approximately thirty of them working."
Despite being volunteers their experience is large, the church's London campus also hosts occasional events at the Royal Albert Hall (RAH), Wembley Arena, and Wembley Conference Centre, even the 3,500-seat Hammersmith Apollo.
The church's own systems comprise Q, C and E-Series from d&b, according to Johnson.
Mick Spratt from Wigwam is quite relaxed about allowing Johnson and the Hillsong team to run the equipment. "In some ways these people have as much experience as any of our own technicians. From the point of view of using a system for speech and live music on the same day maybe more so. They are well accustomed to switching formats and Chris is a very experienced sound engineer."
Wigwam provided a crew of five, "Primarily to ensure the system was in and up on time and properly rigged, with one specialist to assist with what is, even by Wigwam's standards, a large [wireless] mic set-up."
Johnson agrees, "My team have all the required knowledge, it's just a matter of scale. At the Dominion they might handle twelve channels of [wireless] mics, for the O2 we needed fifty channels, so Wigwam sent us a specialist: that's a good learning experience for us and Wigwam's people are very instructive."
Johnson's choice of PA is similarly well reasoned. "I pick the PA system, Wigwam has a choice of three but I find the d&b J-Series best for my purpose. I have used a lot of other large-format line arrays and find J-Series fits the bill perfectly for the varying demands we put upon it. For one thing I can have a physically shorter array to cover my audience, reducing interference with the video and people's view of the stage. Secondly because there are large numbers of people wearing lapel mics I do need exact pattern control from the array and hands-on control of the front fills [d&b Q7 and Q10] so I do have a fair bit of group processing going on at the desk. For example I have a specific band EQ that suits the rock and roll style, and another untouched system EQ for when the band play for the dramatic presentations. I also add EQ to taste with the various speech elements that occur during each day; we have great speakers and guest presenters, but that still means I need to make fine adjustments to sustain vocal clarity."
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