Big changes are afoot in worship sound for the coming year. By keeping a close eye on new technologies, you can leverage the latest developments to benefit your production team and your church’s overall ministry. Granted, the four trends covered below are arbitrary. You could argue that four significant trends could be found just within loudspeakers or audio networking alone. But in the interest of equity, I’m spreading the good news across a broad spectrum of recent developments.
1. Touchscreens taking over at FOH
When Mackie introduced the iPad-enabled DL-1608 at the 2012 NAMM show, it signaled the start of an industry-wide movement away from tactile control surfaces toward touchscreen interfaces. True, touchscreens had been integrated into consoles for several years, but as flexible adjunct interfaces, not as the primary control element.
But with the sole exceptions of input gain and headphone output level, the DL 1608 built all functions into a free iOS app. The revolution was on.It’s been largely a “trickle-up” phenomenon since then, with touchscreen-only control initially implemented in smaller mixers (16 channels and under) designed for secondary room applications or small churches.
Most larger consoles did offer tablet connectivity via WiFi, but this was largely for adjunct use in system set-up or for doing occasional basic mixes while seated in the congregation.
The cost efficiencies of touchscreen control are moving from secondary rooms to the main worship auditorium. Expect all console makers to be shifting more functions to screens.
Four years after the DL 1608 debut, Waves unveiled its eMotion LV1 live sound mixing system. Based on Waves’ SoundGrid network and DSP platform, LV1 is a highly sophisticated, fully expandable system suited for FOH applications in the most demanding worship production environments. And everything can be done on dual large touchscreens. No tactile knobs or faders required.
Not that you can’t add them if you like. But the priority has flip-flopped. The hardware knobs and faders are now adjunct to the principal touchscreen-based interface. You can add on third-party controls, anything from a simple 8-fader strip to Peavey’s Tactus, a complete I/O and tactile surface specifically designed for LV1. But it’s all optional. And thanks to clever features like fader capture (the fader still responds even if your finger drifts off the screen image), some advantages of tactile control have been emulated in software.
BOTTOM LINE FOR CHURCHES
The cost efficiencies of touchscreen control are moving from secondary rooms to the main worship auditorium. Expect all console makers to be shifting more functions to screens. Since consoles can be “refreshed” with software updates, the interval between console – or should I say “mixing system?” – replacements can be extended.
2. Wireless transmitters getting REALLY small
Three major wireless makers have introduced “micro-size” bodypack transmitters that you can tuck into places where a transmitter would never fit before. They are the Lectrosonics SSM for the company’s digital hybrid systems, the Sennheiser SK 6212 for the Digital 6000 Series, and Shure’s ADX 1M for its Axient Digital systems.
Measuring three new micro-size bodypack transmitter models, the largest front dimension is 2.7 inches and the smallest a mere 1.5 inches.
So, how small? Measuring the three new models, the largest front dimension (height or width) is 2.7 inches and the smallest a mere 1.5 inches. Depths range from just over ½-inch to about ¾-inch, and weights from 1.9 to 3.9 ounces, battery included.
These micro transmitters are roughly 1/3 the bulk of our church’s 10-year-old models, which I lovingly refer to as “our little tanks” because they are built to take extreme abuse. But they are hardly petite.Despite their tiny footprints, these little wonders don’t compromise on performance or features. Build quality is excellent, and depending on the model you choose available features include remote control, automatic interference avoidance, up to 12-hour battery life, and wide tuning range. Like most trendsetting technologies, price tags are well into four figures, though as the technology matures we’ll probably see some gradual reductions in years to come.
BOTTOM LINE FOR CHURCHES
In the near term, these will be of greatest interest to larger, production-oriented churches, particularly those with active drama ministries. Micro-transmitters greatly reduce the hassles of finding a place to hide in costumes without belts or pockets, and they virtually eliminate “transmitter bulge.” But even pastors who do have belts and/or pockets will appreciate the reduced bulk and ease of concealment.
3. Immersive audio enfolding worshippers
This is a significant conceptual shift in the relationship between sound technology and worship. Instead of the traditional loudspeaker setup where worship sound is directed out AT the congregation, immersive sound enfolds the congregation IN the worship experience.
Instead of the traditional loudspeaker setup where worship sound is directed out at the congregation, immersive sound enfolds the congregation INTO the worship experience.
It’s not a brand new trend: I wrote a story about immersive worship sound at a church near Orlando over a decade ago. But the trend has picked up steam in the last year with the high-profile introductions of the L-ISA systems from L-Acoustics and Soundscape from d&b audiotechnik. These are integrated packages of loudspeakers, amplifiers, DSP and software, with multiple loudspeaker locations both across the front of the auditorium as well as around, behind and even over the seating areas. This affords more precise stereo imaging across the stage, full immersion of the congregation in worship music, and dynamic movement of discrete sound elements throughout the auditorium.
Photo courtesy of Elevation Church, Charlotte, NC
The aforementioned makers have taken the marketing lead, but others can offer similar systems, either on their own or in conjunction with third-party suppliers. Meyer Sound’s D-Mitri DSP hardware and SpaceMap software offers similar capabilities, and the SARA II Rendering Engine from Astro Spatial Audio is rapidly gaining traction on Broadway.Both L-ISA and Soundscape incorporate in-line active acoustic capabilities, which can change the acoustical signature of a relatively dead room to that of a large hall or cathedral. But these are in-line systems, which simply add multichannel reverberation to the direct signal. A more realistic effect—often stunningly so—is achieved with regenerative systems like Yamaha’s AFC or Meyer Sound’s Constellation. Regenerative systems place arrays of microphones around the auditorium to capture ambient sound and replicate the effect of natural reflective surfaces. And only regenerative systems can effectively enhance and fortify congregational singing.
BOTTOM LINE FOR CHURCHES
Worship is not a show; it’s the shared experience of a community. Immersive sound involves everybody in a common aural space.
4. Audio networks (finally) sorting out
For most of the past decade, audio networking has struggled in a post-Genesis 11 situation. Nearly a dozen network protocols were vying for acceptance, but with few able to communicate with any others. Understandably, many churches were reluctant to take the plunge.Finally, things are starting to sort out and stabilize. A few pioneers and former contenders, notably Cobranet and EtherSound, have largely fallen by the wayside. Those remaining are slowly sorting into appropriate market niches.
Because [Audinate’s Dante] is owned and controlled by an independent, third-party company that does not make its own audio gear, it is licensed freely to all comers.
Audinate’s Dante continues as the dominant “jack of all trades” networking solution. Because it is owned and controlled by an independent, third-party company that does not make its own audio gear, it is licensed freely to all comers. And most makers have come on board, offering Dante connectivity either exclusively or alongside their own proprietary, AVB-based solutions. Multiple manufacturers now offer Dante-enabled devices across every part of the signal chain, from wireless microphone receivers to powered loudspeakers. And if you still have devices using line-level analog, a variety of low-cost interfaces are now available to put these on the network as well.
AVB took a big step toward anchoring its niche with last summer’s introduction of the Milan protocol. Co-developed and backed by the three high-end loudspeaker makers mentioned earlier, among other noteworthy companies, Milan streamlines and codifies the interoperability rules that allow devices from different makers to communicate seamlessly on the network. AVB is making inroads in top-level touring and installation, as well as for integrated system backbones for broad-based makers like PreSonus.
On the installation side, the void left by networking pioneer Cobranet has been filled to some extent by Dante and AVB. But the other strong contender here is Q-SYS from QSC Audio, in part because it can offer a fully integrated hardware and software solution that is compatible with most standard IT networks. The success of the platform is evidenced by the fact that other makers (such as L-Acoustics in a recent announcement) are offering plug-ins in their own software for Q-SYS compatibility.
BOTTOM LINE FOR CHURCHES
Audio networking has sorted out and stabilized. Find one that works for you and commit with confidence.