Church Audio Video is proud to announce our platinum sponsorship of Resonate: Christ for the Nations annual worship conference taking place April 11-13, 2012 at CFNI in Dallas, Texas. Headlined by some of today’s most influential worship leaders including Ray Hughes and Dove Award winner Kari Jobe, this year’s event marks the fourth consecutive year we have sponsored the conference and we are very excited to once again show our support.

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This year we will be co-exhibiting with our parent company, ProAudio.com, and we’ll be showing off the brand new PM-16 personal monitor mixer from Elite Core Audio. This much-anticipated system offers an affordable yet full-featured entry into personal mixing for worship leaders and team members looking to reduce stage volumes and have greater control over their monitor mix. Click here to read a recent review on the PM-16 by Worship Musician magazine.

Also in our booth will be the latest innovations in wireless technology from Shure, including the PSM1000 wireless IEM system, UHF-R and ULX-D digital wireless microphone systems, Axient Spectrum Manager and Wireless Workbench software.

Stop by our booth in the Christian Center to meet with our team, pick up some freebies and enter to win awesome prizes including a two-hour consultation for your church and a Shure SM58 microphone autographed by Ms. Kari Jobe herself!

Are you planning to attend Resonate? Post on our Facebook page or send us an email to share your thoughts and goals for the conference. We’ll see you there!

The next DI box I looked at was the Radial Tonebone PZ-PRE™ with an Internet/street price of around $300. This is a pedal unit and does just about everything you’d ever need it to do. It is like a tone factory or a custom tone shop where you have the ability to manipulate and create almost any sound for your acoustic instrument (it is not an effect pedal, though, it is more like a tone enhancer). Offering a tuner output jack that is true bypass and two inputs for easy switching between instruments, the PZ-PRE is great for any acoustic instrument including guitars, banjos, mandolins, resonator guitars, and acoustic basses. The pedal is powered by a 15VDC power supply, allowing more headroom, clarity and dynamics than typical 9V power supplies. I demoed this product using a Martin DC16RGTE guitar and I thought the sound quality was great. I liked the attack and the warmth this pedal delivered using both the Aura system presets and the pickup built into the guitar. This is not a “set it and forget it” kind of pedal; it is meant to be tweaked and messed with. It is packed full of features. If I were playing in a live setting, I would definitely prefer the PZ-PRE over the Avalon U5.

The third and final DI box I checked out was the Aphex Xciter Aural Exciter® & Optical Big Bottom® Pedal. This too is a pedal unit and is also designed for any acoustic instrument with passive or active pickups. The Internet/street price on this DI is roughly $200. While it did not have as many bells and whistles as the PZ-PRE, it did produce a good quality sound. It is powered by either a 9V battery, a 5-12VAC power supply that “as long as it fits it will work” capability, and it can also be powered by phantom power. Being phantom-powered in a worship setting is very convenient because you don’t need an external power supply stretched across the stage to a wall outlet. When I demoed this pedal I was able to start by turning all levels on the pedal down, and as I played I began to tweak them until I found the tone I was looking for. It sounded great! This to me would be a “set it and forget it” type of pedal. If I played acoustic guitar every week during a worship service and did not want to have to worry about how my guitar sounds from week to week, I would buy this pedal over both the Avalon U5 and the Radial PZ-PRE.

Here is a breakdown of my comparisons:

Avalon U5	Radial PZ-PRE	Aphex Xciter
Street Price: $585	Street Price: $300	Street Price: $200
Channels: 1	Channels: 2	Channels: 1
Inputs: 1 x Instrument, 1 x TS Speaker	Inputs: 2 x Instrument	Inputs: 1 x Instrument
Outputs: 2 x XLR	Outputs: 1 x Amp, 1 x Tuner, 2 x XLR	Outputs: 1 x Instrument, 1 x XLR
Pros: Sleek, sharp design, durable, “No Hassle EQ”, almost unmatched natural tone and quality, 6 tone bank features	Pros: 2 input channels for multiple instruments, rich in features, customizable, great for multitasking, great tone	Pros: Simple “set and forget” pedal that adds clear boost to top and bottom end, durable, compact footprint, good quality, phantom powered
Cons: Relatively expensive, only 1 instrument input, bulky, and lacks features some other DI boxes carry	Cons: No EQs for each channel, possible feature overkill, No specific frequency settings on EQ dials, bulky	Cons: Limited customization, only 1 instrument input, lacks features some other DI boxes carry

In summary, I feel the looks, quality, and sound of the Avalon U5 are virtually unmatched; as a worship leader, if I did a lot of recordings and played in a professional or even semi-professional setting, I would absolutely invest in the U5. If I used multiple instruments while leading worship and liked to experiment with my tone, I would buy the Radial PZ-PRE. As an everyday worship leader simply looking to boost or “Xcite” the tone out of my guitar or bass, I would probably invest in the Aphex Xciter.

Still not sure which DI is right for your application? Feel free to contact us with any questions.

The following comes from Kevin Lorensen, ProAudio.com Account Manager. Kevin plays bass guitar and sings harmony vocals for Brandon Steadman Band, and is an A1 FOH Engineer for various bands and churches in North Texas.

As a bass player and singer, I always find myself wrestling with conflicting monitoring needs. I want the powerful lows on the bass, but I also need to hear the highs in my voice to make sure all my harmonies are in order. The quality of my performance depends directly on the quality of my monitor mix.

Westone UM2

I tend to choose my monitoring setup based on the size of the venue. In smaller venues, I like to useElecto-Voice’s ELX112P powered monitor for its compact size and high output, making minor adjustments with a 31-band EQ. In larger venues, I find IEMs to be a better choice due to the physical separation between me and my other band members. I prefer to use a Sennheiser EW300IEMG3 wireless in-ear monitor system withWestone UM2 dual driver earphones.

Before I move forward I will always ring out my monitor. Normally, I will roll off 50 – 80 Hz and below to remove some of the unnecessary low end, but I try not to roll off too many lows so that my bass still has some power. I find that boosting 2.5 – 3.15 kHz gives me a little cut through on my strings as well.

Electro-Voice ELX112P

After all is set, I try to live by the golden rule of monitoring: ‘if you don’t need it, don’t feed it’ This helps me maintain a more manageable stage volume.

I would undoubtedly say that my vocals are the most important thing in my mix. Usually, with vocals, I find that cuts in the 800 – 1kHz area allow me more headroom. As with the bass, I still roll off the low end because it is simply not needed or even audible. One of the biggest tricks I have learned when running a vocal mix is that the monitor level should reflect the volume at which the performer sings. If your volume is too high, you will sing at a lower volume and sound unnatural with a tendency to get too hot on the mic (and you should NEVER be louder than the mains). On the other hand, if your monitor volume is too low, you will overcompensate by singing louder, making you more likely to be ‘off’. When your mix allows you to sing naturally, you have won.

In closing, you have to be comfortable with your monitor mix in order to perform at your best. I would suggest that you add only what you need – not what you’re used to.”

Stay tuned! Building a Better Monitor Mix, Part II will be posted soon…

Photo of Kevin Lorensen © Dustin Doskocil

Did they EVER sound good in your space?
Seriously, they probably did at some point or you wouldn’t be wondering about them, right? If so, then what, if anything in your setup has changed between then and now? Removing variables is the first step to finding the problem; try putting things back the way they were and testing again.

Do they ALWAYS sound bad, or just on certain mics, an instrument, or a prerecorded sound source?
The problem may be with the source, not the loudspeaker. If you can isolate when they sound bad, then you’ll be farther down the road to figuring it out.

Has the system recently been pushed to the max, either intentionally or accidentally?
Have you had a concert or special youth ministry event? You know their motto: “if it’s too loud, then you’re too old!” Perhaps your system has been pushed to the limit and, like Popeye, it “can’t stands no more.” In this circumstance, your loudspeakers may need to be repaired or replaced.

Which is most annoying (or not working) – the low frequencies, mid-range frequencies or high frequencies?
If only one section of the frequency range is acting up, then perhaps you have a blown low or mid driver. It could also be the the high frequency diaphragm in your compression driver. In most professional speakers, each of these components is replaceable or repairable.

Has Knob Turner gotten into your rack without your knowledge and tweaked EQ settings?
Mal-adjusted settings in your processing components might be the source of the problem. Making sure that your signal processors are well balanced and adjusted could bring everything back to normal within no time.

Are you sure that all of the “send/drive” lines from your mixing console to the DSP, the patch cables between the DSP and the amps, and the lines from the amps to the speakers are all still intact and haven’t lost signal?
Believe it or not, a rodent might have made a not-so-tasty meal out of a wire in the signal chain, and as a result one or more of the components isn’t working. Use a cable tester to make sure all wires are functioning properly. A few we suggest: The Ebtech Swizz Army, Whirlwind TESTER, and Behringer CT100.

If none of these ideas help, of course, you might need the services of a qualified professional to accurately assess any loudspeaker misbehavior. But if you follow these simple steps first, you just might find the bad link in the chain. Happy hunting!

With the new CAV iPhone app, you can follow all of our media feeds like:

• CAV Blog Posts
• Twitter Updates
• Facebook Posts
• YouTube Videos

Here are some screen shots of the iPhone app in action:

The CAV app is compatible with:

• iPhone
• iPad
• iTouch

To download the free app, click on the link below to go to the CAV App on iTunes:

http://j.mp/CAVapp

Once in the iTunes store, you can download the app and install it on your device.

There is much confusion when one mentions the 1/4” connector. Guitar players and sound engineers are each seeking a certain type, but often have or are given the other. Let’s explore the simple 1/4″ connector that has come to complicate our world. We can start with how it is known: audio jack, phone jack, phone plug, jack plug. Specific types and variations include the stereo or mono plug, mini-jack, mini-stereo, headphone jack, longframe, tiny telephone (TT) connector and Bantam plug. Technically, the term “jack” refers to the female type (socket) whereas the word “plug” describes the male type (pictured), but the terms are often used interchangeably so we won’t split hairs.

Let’s look at some terminology:

•  The term 1/4″ (or 6.3mm) refers to the diameter of the plug or jack. Miniaturized versions include 1/8” (3.5mm) and 3/32” (2.5mm).
• The pointed end of the plug is called the tip (3), and the shaft is known as the sleeve (1). If the connector has two or more bands around the shaft (4), the space between them is called the ring (2). Each conductor will be wired in a specific way depending on the application. More on that in a moment.
• TS (Tip/Sleeve), or 2-conductor connectors, are typically used to transfer unbalanced mono analog audio signals.
• TRS (Tip/Ring/Sleeve), or 3-conductor connectors, are typically used to transfer balanced mono or unbalanced stereo analog audio signals.
• Albeit less common, 4- and 5-conductor connectors are used on some devices to transfer send and receive audio or for audio + video signals.

In their original application, 2-conductor 1/4″ plugs were used by telephone operators to connect one caller with another in the days of the manual telephone exchange. Today, common uses of 1/4” connectors include:

• Audio outputs for headphones and earphones (1/4” or 3.5mm TRS).
• Audio inputs on loudspeakers (1/4” TS).
• Line-level I/O connections on mixers, power amplifiers and signal processors (1/4” TRS or TS).
• Send/Return (Insert) points on mixing consoles (1/4” TRS or TS).
• Audio inputs and outputs on guitars, keyboards and instrument amplifiers (1/4” TS).
• Effects pedals for electric guitars and keyboards, and MIDI triggers for electronic drums (1/4” TS).
• Microphone inputs on portable audio recorders (3.5mm TRS or TS) and some entry-level audio equipment (1/4” or 3.5mm TRS or TS).
• Mic or line level I/O from PCs and laptops (3.5mm TS or TRS).
• Patch bay connections in audio and telecom applications (standard, longframe or TT/Bantam 1/4″ TS or TRS).
• Audio + video output on some consumer electronics devices such as camcorders and portable DVD players (3.5mm TRS or TRRS).
• Headphone or headset connections on cellular phones and mobile devices (3.5mm TRS or TRRS, occasionally 2.5mm TRS).

At this point, you may be wondering: what about the cable it’s wired to? We’re glad you asked. As stated earlier, the tip, ring and sleeve conductors are wired differently depending on the cable’s intended use. Here’s a wiring guide we borrowed from Wikipedia:

It’s also important to know that not all 1/4” cables are created equal! Even though the connectors on two cables may look identical, the cable type may not be. For example, guitar cables use a braided shield around a center conductor, and speaker cables use two unshielded wires with no braid. These cable types have different impedances, tolerances and other specifications that make them uniquely suited for their intended purpose. A guitar cable plugged into the output of a power amp pushing enough wattage can melt, and even start a fire! Always make sure the 1/4″ cable you are using is the right one for your application.

Hopefully this clears things up for you. So, when asked to “pass the 1/4” cable”, you are now armed with all the information you need.

Images courtesy of Hosa Technology.

Why choose an over-the-ear microphone in the first place? Since the diaphragms of most earset mics are mini-me sized, they won’t have the strong robust sound that a handheld or larger lavalier microphone has. But don’t let their small size fool you – they can still provide very rich and professional performance. One of the most appealing benefits of an earset mic is that it stays in one place when worn properly, so regardless of whether the user moves his or her head, the mic stays at the same location. This can be a sound tech’s favorite feature because he/she doesn’t have to constantly ride the fader or use a less-than-desirable compressor / expander setting on a dynamics processor to overcome the physical and mechanical moves that can occur, particularly with a more animated speaker or singer.

Here are a few points to consider when choosing an earset microphone:

1.	OSP HS-09 in Beige & Black What will the mic be used for? If the mic is for speech only, then its frequency response isn’t as much of a concern, so you have many options. Offering defined clarity at a very affordable price, the OSP Audio HS-09 is one of my favorites for liturgy. If the mic needs to also handle the task of singing vocals, then that narrows the field a bit. You will need a mic with a high-quality capsule that can handle the added SPL, like the Sennheiser HSP4 or the DPA 4066, both of which are available in reduced-sensitivity versions for very loud vocals (be sure to specify your preference when ordering the mic).
2.	Wired or Wireless?This might seem odd at first, but not all headworn mics require a wireless setup. For example, you might have a singing drummer, or the drummer might be the band leader and will need to communicate over a monitor system to the rest of the worship team. Since his/her hands are occupied, a headworn mic is a good choice, but he/she won’t benefit from the freedom of movement that a wireless system would provide. So why not save some $ and go wired? Provider PPA The same would apply for any team member who doesn’t necessarily need to move around. Almost any headworn or over-the-ear mic can be terminated for wired or wireless use – you just need to specify “XLR termination” when you order. On that note, a handy problem-solver that should be in every sound tech’s toolbox is the Provider Series PPA (Phantom Power Adaptor). The PPA allows you to transform any lavalier or headworn microphone that’s been configured for Shure, Sennheiser or Audio-Technica wireless systems into a hardwired microphone. This inexpensive accessory can be a performance-saver if you can’t find a clear frequency, run out of spare batteries, or if your wireless system fails at exactly the wrong time.
3.	Live or Broadcast?If you’re preaching or performing live on stage with a headworn microphone, consider your proximity to nearby loudspeakers and stage monitors. You’ll usually get a fuller, richer sound from omnidirectional mics, but they are more prone to feedback. To avoid this, choose an earset mic with a directional pickup pattern – most manufacturers offer both omni and cardioid versions of their earsets. Countryman E2 in Tan If you’re streaming video of your services or producing DVDs, the miniature size of over-the-ear mics can be very appealing, particularly for close-up shots on the pastor’s / speaker’s face. Many earset mics are very stealthy in their appearance and come in different flesh tones for a variety of skin colors. Some manufacturers even make short-boom versions – the Countryman E2 and Audio-Technica BP893 are examples. These mics are nearly invisible on camera and are easily hidden in makeup.
4.	Form and Fit.You may have noticed that not everyone’s ears are the same size and shape! Furthermore, the way the microphone attaches to the head is different between brands and models. Many, like the Countryman E6, have a traditional single ear design; one single-ear mic I really like is the Audio-Technica BP892, because its boom hangs under the ear for a very natural feel. Other microphones employ a two-ear design and tend to stay in place better for the more active user. If you’re not sure which type would better suit your application, look for a single-ear mic with a dual-ear accessory clip, like the Point Source R-DMC, which will give you the flexibility of both. Audio-Technica BP892 in Black An obvious (but often overlooked) consideration is if the user will LIKE the feel of a headworn mic. Some of our pastor customers wouldn’t be caught dead wearing one. We’ve heard comments like “I’m not wearing a Britney Spears microphone!” If your pastor is on the fence, you can easily turn an old lavalier mic into a headworn mic with the Provider Series Head Clip to give him / her a test drive.
5.	Durability.Not all over-the-ear mics are created to withstand the rigors of constant use. Although you’ll get good, lasting performance from most of them, some are known for their fragility due to very small size and cable diameters. Point Source CO-7 in Beige Make sure that if the user has a heavy-handed tendency with the mic that you choose a robust tool for the job, like the Point Source CO-7 which boasts an “unbreakable boom”. Many earset mics have replaceable cables, windscreens and cable clips, so it’s always a good idea to order spares. Countryman even offers a 2mm diameter “Duramax” cable for all of their E6 series mics. And please, discourage your users from winding the cable around the bodypack for storage – always unplug the microphone, gently coil the cable and place it back in its case.
6.	Countryman EM6 in Tan Special Features. Some earset mics are now available with an integrated earbud that allows the user to hear whatever you send back to them for monitoring. Da-Cappo’s DA15 is one example, and Countryman offers an accessory cable for their E2 and E6 earsets that will attach to a single Shure SE425 or SE535 earphone (with a dual earphone version coming later this year). As wireless in-ear monitoring continues to gain favor, I expect this configuration to become more common.

I hope this helps you in the decision process – if you have any questions, feel free to post a comment below or email me at jmcleod@churchaudiovideo.com. And remember, once you have made your selection, be sure to follow the specific instructions given by the manufacturer for proper wear and care.

Account Managers Kevin Lorensen and Kevin Betts (a.k.a. “Kevin Squared”) with the Mega Lite Pro Color Cannon (L), N-E Color Pro Strip (front) and N-E Color Par 64 (R).

ProAudio.com, our parent company, recently became a dealer for MEGA Systems, a San Antonio-based lighting and audio manufacturer of brands including Mega Lite, Enigma LED Vision Systems and Biema Professional Sound, and the US distributor of PR Lighting.

We’ve had our fair share of headaches with other lighting lines, but the quality of products and customer service from MEGA Systems has been no less than outstanding, and we’re really excited to be representing this great line. Later this month, we’ll be hosting an Open House with the good folks at MEGA, and we’d love for you to join us.

To give you some insight into the MEGA “user experience” in the meantime, here are a few thoughts from the Church Audio Video staff.

If you’re going to be in the Dallas / Fort Worth area on Thursday, July 21, and you’d like to see these and other MEGA Systems lighting products in action, come to our Open House on at First United Methodist Church in Euless. A number of reps from MEGA Systems and all of us at Church Audio Video will be there to answer your questions. It’s free – just click the button below for more info and to RSVP.

Register Now!

1. Have a clear and concise understanding of your ministry’s vision. I like to ask the question “if we don’t do anything else, what must we do?” Pastors and elders usually have a clear direction of what they want the church to accomplish in your particular culture and geographical location. Knowing that vision will be a tremendous help to seeing it realized through the tech ministry.
2. Match equipment choices with your specific needs. If your ministry doesn’t require all the features of a particular piece of equipment, weigh the options. Don’t get captured by “it will do this, and this, and this!” from a salesperson. Features are great, but it’s best to only get the features you need. For example, line array loudspeakers are all the rage in sound systems right now. Line arrays are great for the right room, but if your room doesn’t need them, then the rage might come from your congregation – mismatching a line array speaker system to a room can cause echoes, phase cancellation, comb filtering, decreased speech intelligibility and other unpleasant effects. Another popular trend is digital consoles. They, too, are great tools, but only if you need their flexibility and have the budget for one.
3. Consider a full-systems approach. As excited as techs can get about a particular piece of equipment, piece-mealing a system can cost way more time, money, and effort that it should. Make sure you know what tools are needed to get the job done, both now and in the future. Assess where you are and where you’re going, because being a good steward of your church’s resources may require a complete system upgrade or overhaul.
4. Get some help if you need it. Don’t be afraid to consult with someone who is qualified to help you make good decisions. There are several ways to get the info you need. Talk with your friends who are techs or worship pastors; they usually have valuable experiences to share. Secondly, do your research. Read trade magazines like Church Production and Technologies for Worship, and use online resources like ProSoundWeb, which offers excellent forums where you can get useful advice from your peers. Attend trade shows, like the hugely popular WFX Conference (coming to Dallas this November), which is a nuts-and-bolts event that provides a wealth of information through seminars, hands-on workshops and exhibits. In addition, we offer on-site and telephone-based consulting services to assist you during any phase of the decision-making process.
5. Be realistic with your expectations. Too often, a budget figure is just pulled out of the clear blue sky without any real basis. There are three important components of a A/V/L system budget you need to consider: 1) the actual “street price” of your equipment (this might be different when you buy a single piece of gear outside of a complete system); 2) shipping costs that can impact the bottom line, particularly on heavy items like loudspeakers, amplifiers, or a large mixing console; and 3) the technical assistance that is needed to install it. If you can do it yourself, then you’re golden. If your installation requires the help of an on-site integrator, you should find out how much it will cost ahead of time.
6. Use percentages and projections. If you’re in the planning stages of building a new facility, you can usually use a 10%-15% figure to estimate what your complete audio, video and lighting system will cost. For example, if you’re building a million-dollar building, then you can expect to pay between $100K and $150K to do it right. If you’re remodeling an existing facility and you have some gear that you can re-purpose, this percentage might be too high. If you’re building more than a year down the road, then take into account that equipment prices might increase as much as 10% in that time based on global market fluctuations and the rising costs of raw materials.
7. Remember WHO you’re ultimately serving. We have a favorite saying about God’s provision: “If it’s God’s will, then it’s God’s bill.” That’s more than just a cliché; the truth is that if the Lord has directed you to do something, then He will make provisions to see it accomplished. When you do a good job of consulting with others, researching your needs and understanding your goals, then you can trust Him to bring the funds that will see your vision realized.

On Thursday, June 2nd, this room will be transformed into a full-fledged TV production studio. With two of our staff members working together in 234 square feet, we will shoot video on network-style TV sets, switch between multiple HD cameras and other audio and video sources, add titles and overlays on the fly, send our presentation to a local projector, webcast to (and take questions from) a live online audience, and record our program for later editing, archiving and duplication…. all with plenty of room to spare.

How is all this possible, you ask? With one amazing product that is transforming live video production as we know it: the NewTek TriCaster. TriCaster is a portable device – small enough to fit in a backpack or rack case – that essentially replaces an entire television truck and crew, allowing you to simultaneously record, project and stream your program with just one or two operators. ESPN X Games, MTV, Fox News, BBC, Nickelodeon, CBS Radio and NASA are among many high-profile organizations that use TriCaster to produce and deliver their content.

On June 2, we will be hosting a webinar to explore the features and benefits of TriCaster as they apply to houses of worship. The webinar is free to attend (sign up here) and all you need to participate is a broadband Internet connection and a web browser. Bring your questions – we have 3 employees on staff that have all been through TriCaster “boot camp” at NewTek’s headquarters in San Antonio, and you’ll be able to communicate with them during the webinar.

The most obvious uses of TriCaster in worship applications are for live streaming and recording of services, but churches are finding many other ways to use TriCaster to enhance and extend their outreach. You can project hymn lyrics and imagery on-screen; play pre-recorded video announcements during services; and supplement your weekly message with a web-only sermon series or teaching videos. In addition, TriCaster’s portability allows you to easily cover off-site events, like outdoor baptisms, community service projects and youth group events by recording and streaming or archiving them on your website. TriCaster makes it easy to share your church’s message – not only with your entire congregation, but with viewers around the world.

We’ll be covering all this and more during our webinar, using practical examples that apply to every church and worship style, so this is an event you don’t want to miss. For more on TriCaster in the meantime, read these reviews by Church Production Magazine and Technologies for Worship Magazine. Technical information can be found on NewTek’s website. And of course, we’re available anytime to answer your questions – just call us at (888) 889-7709 or send us an email.

We look forward to seeing you online on June 2! Click here to register.

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Church Audio Video (a ProAudio.com Company) is a Dallas/Fort Worth-based systems integrator specializing in the design, installation and support of high-quality and affordable custom audio, video, lighting, broadcast and control systems for worship facilities.