"It's great to finally have a system with enough headroom so that we can push it hard when needed, and have it respond with a smooth increase in gain, without distorting or changing the tonality," says Bob Meyers, principal audio engineer at The Crossing.
For uniform coverage of the wide, 1,800-seat room, the system relies on four main clusters of JM-1P loudspeakers, with four in each end cluster and five in each of the two center clusters. One UPA-1P loudspeaker provides down-fill under each cluster, while six UPJunior VariO loudspeakers supply front-fill. Four 1100-LFC low-frequency control elements are flown in an end-fired array over the stage, and two 600-HP subwoofers are placed underneath the deck. System drive and optimization are handled by a Galileo Callisto loudspeaker management system with two Galileo Callisto 616 array processors.
Kevin Potts and David Starck of Las Vegas-based Coherent Design handled system planning in close consultation with the church's principal audio engineers: Meyers and Aaron Beck, a volunteer who is also head of sound for a resident Cirque du Soleil production. System integration was handled by Las Vegas-based AVDB Group, with Bob Langlois responsible for overall direction and Daryl Porter handling on-site project management.
"They are serious about audio quality at The Crossing," says Starck. "When they built this new worship space, they wanted to make sure everything was done to the highest standards."
From an integrator's perspective, the Meyer Sound solution has saved both time and money. "With a Meyer system, you pull it out of the box, and it works," says Langlois. "The amount of labour is so much less than with other non-powered systems."
The front end of The Crossing's new audio system includes a Yamaha CL5 digital mixing console at FOH, Shure ULX-D wireless microphone systems, Shure PSM 900 IEMs, and wired microphones from Countryman, Audio-Technica, Sennheiser, Shure, and Audix.
(Jim Evans)
