Most of us do a pretty good job of building right-sized audio, projection, and lighting systems in our churches, ensuring that the room acoustics are good and the visuals look great. We go on to develop good policy and processes and over time, the show continues to run more and more smoothly as we refine technology and staff keep getting better at what they do. Eventually we reach a fine state in which everything is firing on all cylinders — all paddles are in the water, and we become a well-oiled machine running at maximum efficiency.
Then… someone throws a wrench in the works.
“Hey Team — we’re really going to make Easter something very special this year. As is always the case for Easter, we expect twice as many parishioners as usual, so we’re going to hold all three services out on the big lawn on the west side of the sanctuary. Oh, and we want to have a second platform over at the east side parking lot with a special worship service for the junior high and high school kids. Oh, and we’ll want to do a video conversation between our main campus pastor and the pastor over at the satellite campus. And of course, we’ll want projection and we’ll live stream just like usual — this will be a special service, and we want all the world to see it!”
As the conversation progresses, you can see the little beads of sweat begin to form on the foreheads of the tech team. Will we need to dismantle our semi-permanently installed audio system, move it outside, and make it work? Will it even be able to provide sufficient SPL out in the open air? And all our semi-permanent wiring — how will we dig it all out and move it outside? And wireless, and video, and projection … Argghh!
In-House or Rental?
Our focus will be on the audio component of this extra-large service, and that’s certainly enough to challenge us and give us plenty to think about. The first big consideration is the actual system. Indeed, that rig that’s proven to be just the right size for our sanctuary might be a little under-powered for an outdoor service with twice as many seats as usual. And even if it’s not, we still have another big question to answer — is it worth dismantling the entire rig, moving it outside, moving it back, and essentially re-installing it all in time for next week’s service? This one is somewhat contingent upon budget. If it’s economically feasible to rent a system, it’s pretty much a no-brainer. Yes — it might cost a few bucks, but when that’s weighed against the hassle of moving a permanently or semi-permanently installed system out and back in, it may very well be worth it.
Also, the system in our sanctuary might not have the power necessary for an outdoor application covering a much larger area, in which case it does make more sense to hire in a rig. Another option to consider: some churches will inevitably still have an older audio system that was relegated to storage upon the installation of a shiny new system. It may be worth consideration to pull the thing out, dust it off, and press it into service once again. Of course, it would still have to provide sufficient SPL, and chances are, the system exhibits lower quality than our current system or one that could be hired in. There’s a reason it was replaced, after all.
Set-Up, Testing, Go-Time, Strike (and Reinstallation)
No matter which option is chosen in terms of the audio system, there will be logistics to consider in terms of set-up, testing and go-time on Sunday. The focus here remains on special events that will take place outside our regular, comfortable week-to-week indoor services. And that means that whether we’re dragging our own stuff to the new location or taking delivery of a rental system, it must be set up. I prefer to get stuff set up as far in advance as possible and put it through its paces so I can be sure that when go-time arrives on Sunday morning, everything is going to function as expected. Sure, touring shows set up on the “day of” all the time — but they have the benefit of repeating that action time and time again. For our special production, we will probably only be doing it once, so setting up and testing with an additional day or two can give us the time to work out kinks. Of course, this comes with some of its own additional logistical challenges. Most likely, security must be hired in to protect an outdoor rig that’s going to be set up a day or two in advance. And let’s all pray the weather will cooperate, too.
It Takes a Village
We will surely need additional tech staff to help make this happen, particularly if we’re going to use our own audio system. If we hire in, the system may come with some professionals who will take care of set-up, strike and tech maintenance along the way, and if that is the case, it’s just more fuel on the fire for the notion of renting a system. On the other hand, if we’re using our own folks, we’ll probably have to ask volunteers to double up from their normal rotation in order to increase our ranks during set-up, strike and (potentially) the return of our system to its usual home in the sanctuary.
The Side-Show
Another potential complication to consider: we could be asked to provide a second platform for junior high and/or high school worship, for instance. Even if it’s just a simple P.A. for pre-recorded music, we still have to sort out the logistics of set up and strike. And consider the logistics… who will be in charge of the operation of a simple P.A.? Or if it’s a full system with a live band, do we have enough personnel to put a competent FOH mixer at each location at the same time?
On The Air
The other potential disruption to our calm, smooth-running week-to-week operation in the sanctuary is wireless. We’ve scanned the entire spectrum from DC to light, and we know where all the TV, radio, police, and fire stations are camped out with their RF, and we’ve settled on the frequencies that work well for us in the sanctuary, but that picture can change a bit if we step outside (especially if we’re operating multiple platforms). And even if your major special event is still indoors, the expanded scale of the thing may require additional RF that you don’t normally deploy. In either case, it’s a good idea to shoot the spectrum — one last time — once you’re all set up, just to make good and sure everybody’s playing nicely together.
We needn’t fear hearing the words “major Christmas pageant” or “very special Easter services” as long as we’re logical about how to tackle the issues. Take a breath, remain calm, be methodical about your planning, and everything will be just fine.
John McJunkin is the chief engineer and staff producer in the studio at Grand Canyon University.
