"While I'm a record producer first, I've done a few successful rock and roll churches in the area, and word gets around," notes Dexter. "My job was to give them the sound they wanted and the knowledge they needed, while working within a pretty modest budget. One of the keys to making that happen was choosing an Allen & Heath iLive-112 as the mixing console."
Dudley Rogers, the primary sound engineer at Southlands, was involved throughout the project. "My job was to represent the church's needs to Paul Dexter - what kind of sound system we wanted, how we use it for various events, etc.," he recalls. "So I was sort of the liaison between 7k Audio and the church administration."
The "new" facility is actually an industrial space that has been converted for worship use. The room was gutted and divided into a worship space, with other areas reserved for future development. To create a reasonable sonic footprint in this steel-and-concrete space, the floor was carpeted, and the ceiling covered.
In designing the sound system, Dexter took special care to find a console that could fit into the budget without compromising on either sound quality or functionality. "As a recording engineer, my customers call me because of how I make it sound. Features are one thing, but finding a digital console that sounds good has been very frustrating. So I was on a year-long journey looking for a good-sounding yet affordable digital console. I looked at a lot of them, and the Allen & Heath was the first in that price range that I fell in love with. The sound, the EQ, the A/D converters - everything was top notch. And I was absolutely astonished by the user interface. It's a brilliant approach."
The iLive-112 at Southlands handles both FOH and monitor duties and is set up with 32 input channels and 16 outputs in the iDR-10 MixRack which is located behind the stage and connected to the iLive control surface via a single Cat 5 cable.
The band is on wedges currently, but the system is wired up for in-ears in the future. They also plan to have a ProTools recording studio in the future, so we left room for expansion. The main PA outputs feed a SymNet system for processing before going to the speakers. Because the room is wider than it is deep, Dexter opted for a stereo point source approach, with a pair of EAW AX396 speakers hung on each side, reinforced by three dual-18 subwoofers in the centre, all powered by QSC CX Series amplifiers. Five more outputs are used to send the monitor mixes to the band on stage, while another handles distributed audio for the lobby cry room and hallways.
(Jim Evans)
