DPA Microphones draws on more than six decades of world-class microphone design experience.
When we go to a theatre, concert or church event, we experience these gatherings through vision and sound. (The human eye distinguishes between one and 10 million shades of color, and the ear can detect pressure variations of less than one billionth of atmospheric pressure.) Being in the physical space allows us not only to receive the information we need but also enables us to feel connected to the service. What happens when a church service goes virtual and congregants tune in remotely? Where is the reference? How do we bring the live environment to the remote participants?
The rapid implementation of live streaming has brought intelligibility to the forefront of all productions, leading churches and other venues to invest in higher end, future-proofed audio and video technology. This allows them to pivot quickly to a virtual platform whenever the need arises, while still providing an accurate visual and auditory experience.
Westminster Presbyterian Church in Wilmington, Delaware. DPA 4015C microphones with a wide cardioid pattern covering the choir from above while rejecting the pipe organ.
I recently worked with Westminster Presbyterian Church in Wilmington, Delaware to design a live stream with accurate, intelligible sound. The problem we were trying to solve was that remote churchgoers could not hear the service well. The streaming feed lacked detail, balance, consistent room ambiance and intelligibility from the spoken word, causing at-home worshippers to feel disconnected from the service.
Understanding Equipment Matters
When it comes to sound and video capture tools and methods, it seems most organizations skimp on the mixing process, just before delivery across the internet. Perhaps the assumption is that the audio and video will be delivered in as equal a quality as the live production. However, as we’ve all come to learn, general populations don’t have sophisticated equipment. They’re connecting to family, friends and even their church with smart phones, tablets and computers. Since these devices have less than average speakers, it makes it difficult to ensure quality results.
So, when we unite sound and video on the production side, we need to ensure that there is a professional, audio-balanced interface in order to avoid reduced dynamic range, limited frequency response or electrical issues resulting in unwanted line noise. This is not only true of the mixing stage, but of the capture process as well. From microphones to consoles, it is important to utilize tools that reflect the workflow of the facility while also ensuring pristine audio playback.
Westminster control space located off the balcony at the entrance of the church.
What Tools to Choose
For consoles, focus should be placed on features such as analogue to digital conversion, clean head amp accuracy and audio transparency, balanced in/out connections and Dante/MADI multi-channel interfaces. Finding one that can be digitally controlled through scenes or snapshots provides operators with the ability to save shows and recall different configurations easily.
It’s also wise to invest in solid wireless transmitter/receiver systems that are cleared through the FCC and have clean transmission and low latency. Most modern digital systems can retain dynamic range much better than older models. With regards to microphones, focus on those that offer excellent on/off axis linearity, fast transient response and high SPL handling. Utilizing both omnidirectional and directional patterns can add accuracy and intimacy to your stream by carving out just the right amount of direct vs. indirect source sound.
Westminster’s Solutions
DPA 4006A Omnidirectional with nosecone attachment capturing the depth of the space from the rear.
To capture the shape of the space at Westminster, we deployed a wide array of solutions from DPA Microphones. Included among these is a pair of DPA 4006A Omnidirectional microphones with a nosecone accessory above the main aisle, spaced equidistant between the front and back of the church. This ensured accurate capture of all the frequencies generated by the massive organ and provided a 360-degree, true-to-source capture. We also hung a pair of DPA 4011C Cardioid Microphones on suspension mounts in an ORTF configuration, aimed at the altar, which enhanced the direct sound of whatever event happened to be in this sweet spot. That, in combination with the 4006As, achieved a fantastic room balance for the remote listeners, ensuring continued engagement throughout the services.
For the 30- to 60-person choir situated just below the organ, we selected a pair of DPA 4015 Wide Cardioid Microphones, which were hung 10- to 12-feet above finished floor (AFF) and about four- to six-feet above the choir members. The wide polar pattern of these microphones not only captures the vocalists evenly and consistently, but also rejects the organ pipes just above. We also flanked the choir in the front with hard left/right DPA 4097 Supercardioid Choir Microphones, which delivered additional focus and clarity to the mix. Additionally, we placed a pair of DPA 4099P CORE Instrument Microphones in the piano with magnet mounts, which blended with the room to provide an accurate tone and gave us the emotional intimacy required for the stream. To prevent silent holes in the mix, Westminster can keep the room microphones live at all times in slightly different scene levels, to ensure a continued audio stream. This way, the audio team can adjust the mic signals as necessary or preferred.
DPA 4097 Supercardiod microphones mounted out of sight and capturing the front rows of the choir. They flank the choir and probe the front rows from the extreme sides.
As of this writing, the AV contractor is experimenting with DPA’s miniature body-worn microphones inside DPA concealer mounts. This helps immensely when the pastors wear robes and other difficult to mic garments. This setup gives the pastors the ability to roam the church during the sermon. Thus far, the solution has been well accepted by the church, as it has been providing outstanding intelligibility for the stream with limited noise generated by clothes rustling.
Nothing can replace truly “being there,” but there are many steps that can be taken to give at-home worshippers the feeling of being in church. As audio professionals, we need to ensure that the source elements, such as room shape, and the balance of those source sounds―from the pastor, organ, choir, piano and physical space―can all be brought into the production. The key is to make the sound so pristine that viewers can practically ‘feel’ like they are sitting in a pew.
