Macon, GA (March 11, 2011)–Ingleside Baptist Church in Macon, Georgia, a large, fan-shaped worship space for 1,650 people, recently installed Midas Pro3 consoles at FOH and monitor positions.
In an effort to attract more worshippers to its services, the church decided that time had come to expand beyond its blended style of services, which feature a contemporary worship band augmented by orchestra and 60-voice choir. “The idea was to add a more edgy, contemporary service on Sunday evening, focused on the rock band,” notes Chris Hawkins, technical director for the church. “That’s when we put the wheels in motion to change to digital mixing consoles. In order to accommodate the different styles of worship on Sunday, plus rehearsal and other events during the week, we needed digital recall. There’s really no other efficient way to do it.”
The church enlisted Marty Jones, owner of Knobheads Pro A/V in Canton, GA, to do the system design. Owner Tome Resue of TE Audio/Video in Harrison, TN, was then engaged to handle the physical installation. “The church had an old Midas Legend console at front of house, which they loved the sound of,” Jones states. “We needed two control surfaces with snapshot ability that could be operated by a volunteer staff and still meet all the technical requirements. The Pro3 was a perfect fit.”
Those technical requirements included a major upgrade to signal routing and infrastructure. Ingleside Baptist was running a 3-way split (house, monitors and a separate production feed) of copper cable via patch bays, with 107 stage inputs. Converting that mass of copper into a remotely patchable digital audio network that could be managed from the Pro3 control surface was achieved with the AES50 network infrastructure.
“The Midas Digital platform lets you use any of their stage boxes with any console,” notes Jones. “We ended up using the DL351 variable I/O stage box, which gave us extra inputs and flexibility.”
Technical director Chris Hawkins is a big believer in having separate house and monitor mixers, especially when working with a staff of volunteer engineers. “It lets the front of house guy concentrate on his mix without distractions, and the same thing holds true for the monitors,” he explains. “The band gets a dedicated mixer, and it puts a production person near the stage to handle any equipment problems that come up. It means a better experience for the congregation as well as every performer on stage.”
At the front of house console, channels are grouped by instrument via VCAs, while the six available POP Groups provide instant access to all relevant channel groupings – worship leader, backbeat/rhythm section, a “talk” grouping for use during the welcome, etc. At the monitor desk, the POP Groups are split by application with separate channel groupings for each of the five floor wedge mixes in use – vocal team, choir, etc. – plus the sends to the Aviom system used by the band members.
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