The gymnasium was a large 120ft x 80ft x 22ft box covered with reflective surfaces, and Armstrong measured its reverb time at 7.5 seconds. However, the church had determined that they could place a generous stage along one of the long walls and still accommodate 900 church members.
"Diffusion panels would help kill the rather extreme flutter echo," Armstrong explained, "but there was still a massive slap-back echo from the back wall to the stage." To combat the problem, dB Audio and Video designed a regiment of two-inch absorption panels and installed them along the back wall. They soaked up most of the energy above 1kHz and a good deal below that frequency.
"Although we did diffuse the side walls, it was still best to keep as much energy off them as possible," continued Armstrong. "We wanted all of our energy focused on the seats so that we could keep our overall energy level as low as possible. We didn't want things splashing around in that boxy room. The only loudspeaker manufacturer that I know of with true pattern control is Danley."
Using Danley loudspeakers, Armstrong designed a system that was simple and elegant. He flew two 50° x 50° Danley SH-50 Synergy Horn full-range loudspeakers directly above the pulpit. He supplemented them with two 110° x 110° Danley SH-100 Synergy Horn full-range loudspeakers 35ft in either direction from the centre cluster and angled in at 45 degrees, to ensure that nothing hit the sidewalls. Two more flown SH-100s served as low-energy choir monitors.
Armstrong specified new QSC RMX-Series amplifiers to drive all of the house loudspeakers. RMX 4050s powered the SH-50s, RMX 2450s powered the side fills, and RMX 5050s powered the TH-115 subwoofers. He used the church's existing Crown Macrotechs for the choir monitors and for their existing stage wedges. An existing Crown USM810 provided processing, although Armstrong commented that the Danleys required almost no equalising, and an existing 40-channel Soundcraft Series 2 console fed the whole system.
(Jim Evans)
