Dream City Church Uses Allen & Heath To Ring In 2021
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- čas přidán 7. 09. 2024
- Phoenix, Arizona megachurch selects Allen & Heath consoles of all sizes to power their New Year’s Eve Celebration
With a seating in-person venue capacity of more than 4,500, a simulcast stream going out to remote church members, and a complex stage plot exceeding 50 inputs, Dream City Church went all-in with Allen & Heath consoles and personal monitors for their New Year’s Eve Celebration. With their hands on faders spanning a range of control surfaces from the diminutive 19” wide dLive C1500 all of the way up to the flagship S7000, Dream City’s skilled technical team brought the event audio to the congregation in the seats and across the web.
As one of the early adopters of dLive in house of worship, Dream City built upon their existing audio network and leveraged the ability to easily expand and interconnect Allen & Heath consoles-even across different product ranges. The dLive S7000 control surface at front of house functioned as an audio ‘home base’ as it paired with their DM64 MixRack and provided audio networking interconnects for 128x128 channel Dante, Waves and Allen & Heath fibreACE and gigaACE across the venue.
Audio was split and routed as needed to a C1500 (with a DM32 MixRack) and an Avantis to cover monitor and broadcast duties. Rounding out the system was a ME-U touring grade monitoring hub which distributed audio to five ME-1 personal monitors and an array of Alclair, Jerry Harvey Audio, Shure, and Ultimate Ears (UE) in-ear monitor headphones. Shure Axient Digital wireless (with KSM8 capsules) were in wide use and a Meyer PA filled the hall.
“You just don’t get better than Allen & Heath desks,” notes Jordan T. Hurt, Senior Technical Director and FOH Engineer. “Integrating additional desks of various models is so easy and the user interface is consistent and easy to learn across every console. They’re the most flexible consoles you can own. Transitioning all of our organization over to Allen & Heath is a no-brainer.”
Dream City Church Glendale Campus Technical Director and Monitor Engineer Michael Lemus adds, “The flexibility of the C1500 made mixing a 56-input show feel effortless.” While small on size and weight, the C1500 is no slouch when it comes to horsepower and flexibility, offering full access to dLive’s XCVI 160×64 FPGA core via 12 faders in a fully assignable layout, 19 assignable SoftKeys, and a 12” capacitive touchscreen.
“Yeah, Allen & Heath is my go-to brand for mixing consoles,” notes Broadcast Engineer Robert Salazar. “They’re easy to navigate, simple to set up, and beautifully built. Avantis is no exception.” The TEC Award-winning Avantis provides two additional I/O ports which allow connection to the full range of current dLive option cards, expanding the scope for system integration, FOH / monitor splits and multitrack recording.
The gigACE connection was particularly useful in this application, transporting Audio and Control over Ethernet, using standard CAT cables for very low latency and cable redundancy without any audio dropout. As a truly plug ’n play protocol, no computer was required for the setup of the New Year’s show gigaACE connections. System Engineer Sherman Jarrell simply plugged the Ethercon cable between the dLive/Avantis system pair and set the patch and clock settings directly on the mixer.
“It is wonderful to hear about projects like the Dream City Church and their New Year’s Eve Celebration,” comments Allen & Heath USA Marketing Director Jeff Hawley. “Folks like Jordan and Michael are stepping up to new challenges and continuing to strive to meet their lofty goals for church growth and engagement all while ensuring the overall production quality on their end grows alongside church membership. It really means a lot to us to be able to provide a range of products and support out in the field to help them along the way.”
Thank you so very much we’re contemplating going to an Avantis for front of house and 1 for livestream upstairs.
3:28 THE BACK OF ALLEN HEATH DLIVE S7000
Uh, yes? lol
Hello,
can i use CDM64 MixRack with an Avantis? my thought is: i have already bought an Avantis. So if i could buy a CDM64 MixRack instead of buying GX4816, i can use Avantis for FOH and the Wins system (with 2 Dell Touch screen Monitors and a Windows PC) for Monitor. I know the CDM64 MixRack has more processing power in comparing to the avantis. But many sound engineers like to have a desk with physical faders. Thanks in Advance for a short reply.
Regards from Germany
Hey there! Apologies for the delay. I just saw your comment.
You wouldn’t be able to use the CdM64 as an extension of I/O for the Avantis. What you would need to do is purchase two GigaAce cards - one for the Avantis and one for the CdM64. Your CdM64 would act as its own console and run dLive Director, which you can set up as you described, but the CdM64 and the Avantis would run as separate desks. You could send channels back and forth to each console over GigaAce.
@@jordanthurt Hey thanks a lot. Does D Live do anything more than an Avantis to the sound (That it sounds different than Avantis) except it has more inputs, more Dyna8's and more processing power?
@@livemixpriyan great question. The dLive, Avantis, and SQ series all have the same plugins and the relatively same FPGA core inside them. As far as sonic quality, nothing will be different. The things that you’ll notice you can do more of is more complex routing and access to more of the DEEP processing plugins.
@@jordanthurt Thanks a lot Jordan
@@livemixpriyan happy to help!
Dope video! Definitely need a tutorial video on how you guys are using the tie lines to patch everything to each console… is it all patched 1-1 on the FOH consoles, and then every other console patches their tie line inputs from there? How does that work?
We used a secondary GigaAce card to patch tie lines to the Avantis and then used another GigaAce card to tie the two dM racks together, giving us two fully functional dLives!
do you work in multi-surface mode? if so, for Broadcast mix how do you create stereo L/R using stereo AUX - because you lose L/R in multi surface mode - when using gigaace? tx
You actually wouldn’t lose your LR on the broadcast console in multi-surface mode because each A&H desk acts as its own console. You can either assign inputs using tie lines from GigaAce or you could pull inputs straight off of GigaAce. The same would apply if you’re doing a digital split, but that cuts your input count in half every time you set up another split.
What consoles are you running at FOH and Broadcast and do you have a GigaAce card in both consoles?
@@jordanthurt we have 2 c3500s, DM64 and GigaAce. Set up in FOH/MON (and Gain-sharing) config - ONE GigaAce installed in DM64. MON definitely loses L/R and confirmed by AH. We select MIX on one stereo Aux channel and it serves as L/R and we get panning abilities. FOH has 1-64, Mon 65-128. It is working for us. In other modes the boards played tug of war. Would love to know better options. tx you
@@dljr60 Ok this makes a lot more sense. Thanks for clarifying. I also didn’t realize you were running broadcast this way. In order to have 128 channels and a LR on both desks, you would need TWO mix racks, BOTH outfitted with a GigaAce card. Each console would connect to the built-in GigaAce connection on their own mic rack, then tie together via the installed GigaAce card. This would give you 128 channels on both desks, and wouldn’t limit you on scenes either. Right now you’re set up in what is called a Digital Split, and this limits your input count and scene count as you’ve described.
I recommend getting a dM0 for the other desk as opposed to a cdM0 only because you’ll get a third card slot for future expandability. Ultimately you need to decide what is best for your future needs, but that is what this church ultimately did for their monitor setup. They now have the S7000 with a dM64 and the C3500 with a dM0 for monitors.
This looks impressive but honestly the livestream mix is barely above par. I think a DAW in capable hands would massively outperform the Avantis. Is there a specific reason you guys went for a console over a DAW in this situation?
Hey Kevin, for this event we used the Avantis for the ease of connectivity. Normally we do not have a broadcast mix.
this is so impressive. Which one would you recommend for a medium-sized church.? and What are the key differences between the Avantis and DLive?
Thanks! It really depends on your channel count more than anything. If you have less than 48 channels, I'd recommend an SQ series desk. If you are close to that channel count with a limited budget, Avantis is the way to go. If you do lots of major productions like we do, you'll probably want to start looking at dLive systems. Honestly, the only major differences between the Avantis and dLive is the channel count. Avantis does 64, dLive can do 128 per engine, meaning if you had crazy setups the dLive could do inidividual processing for several desks across the same 128 channels. Other than that, you miss out on a couple of the modeled compressors and FX, but to me that isn't a dealbreaker. For me, it really comes down to what features you actually NEED and how many channels you need. At Christmas, I use about 112 channels on the dLive (full live orchestra, 40 wireless mics, 16 channels of tracks, etc). I wouldn't be able to do that with any of the other A&H series desks.
If would be cool to be able to monitor wireless ears on desk like you can with mics
I've heard it's coming!
"Show"?
“Yes”? Not sure I understand your question.