takes over . “ This room was awkward in that the balcony only extended up on one side of the room . It ’ s not a symmetrical room . It ’ s fanshaped and the balcony face was problematic for reflections .”
The challenge in the roughly 900-person capacity church is typical of a facility that has no acoustical management , De Buglio writes in a short piece detailing his involvement in the project , explaining that the fan-shaped room ’ s low ceiling created issues with standing waves , excessive noise , early reflections , “ and lots of bass stored in the corner .” The fact that the ceiling is parallel to the floor created issues , but some were mitigated by different ceiling levels in the room , if only slightly .
The carpeted floor and padded seating provided absorption above 2000 Hz , he writes , so adding more absorption panels to manage lower frequencies would negatively impact acoustical performances , including the alwaysimportant sound of the congregation ’ s singing . “ With the reverberation above 2K already less than 1.4 seconds ,” De Buglio writes , “ and the frequencies below 1K at almost 2 seconds , there were not too many options available .” Consequently , frequency-specific diffusion was the ideal route .
Generally , says Jukes , CS Acoustics ’ approach to room acoustics relies heavily on diffusion and RPCG was provided with roughly 250 pieces of acoustic diffusers manufactured by CS Acoustics . “ There is a vast amount of things going on ,” Jukes says about the various musical and speech applications that would be part of a typical service . “ It ’ s not just speech . You want a certain reverb time for speech , but we also had to bear in mind traditional and contemporary music . Also , everything is amplified – the choir , the brass band , everything .”
CS Acoustics ’ Tube Radiators , which are custom-made , half-round diffusers made of custom compressed cardboard tubes , similar to MDF , were installed to reduce bass and midrange energy and eliminate standing waves , “ bringing the overall reverb time down to an average of 1.3 seconds from 200 to 4,000 Hz , which makes it a great room for a Pentecostaltype worship program ,” De Buglio writes . “[ It has a ] short enough RT60 for a high quality contemporary worship service and is live enough for great congregational singing . Eight and 12-in . diffusers were used in a detailed system to cut over 25dB between 200 and 800 Hz . This design absorbs bass energy down to 40 Hz . Since most of the bass energy is diffused or scattered along the walls , there is no bottom end buildup in the corners and , therefore , no need for bass traps in the corners . This system makes it easier to hear that low note below 100
Hz . They come across as cleaner , clearer sounds at all volume levels . And as a bonus , you can feel more bass .”
The result is not only better bass response , but better overall intelligibility .
The majority of the Tube Radiator barrel diffusers were 8.5-in . round , though other sizes were used in certain areas . “ We placed [ those 8.5-in . diffusers ] on every wall surrounding the room ,” De Buglio affirms .
Adjacent spaces like the baptismal area open behind the pulpit , for example , were treated as well , “ Because you have reflections reverberating around in that baptismal area that the pulpit microphone picks up .”
Using absorption panels that take out the high mids without dealing with the lower frequencies results in a bass heavy room , meaning less intelligibility and articulation in the low mids and highs . “ So by reducing your low mids and highs and not dealing with bass ,” Jukes says , “ you ’ re creating a problem .” In service of that ethic , only diffusion panels were installed . “ The new padded pews and carpeting and the bodies [ in the room during service ] were enough to handle any other concerns .”
Following the installation of the acoustic treatments and sound system , the musicians , choir , and brass band found the room easier to perform in and could hear themselves like never before . “ The minister found it an easier room to preach into as well ,” De Buglio notes .
The replacement of the church ’ s console was also key and , after thorough discussion , RPCG decided on an Allen & Heath GLD-80 digital desk – “ a good sounding mixer with all of the bells and whistles you can hope for in a vibrant church ,” De Buglio says .
The result is what Jukes describes as a “ turnkey sound system solution ” – one provided knowing that aesthetics were of critical importance . “ One of the major concerns is always , ‘ How will this look ?’”
KV2 Audio house PA .
That applied equally to the acoustic treatments , which Jukes says basically disappear into the space . “ Most people don ’ t realize they ’ re acoustical products ,” Jukes says proudly . “ They think they ’ re an architectural feature .”
The entire project was completed between October and December 2015 – about 10 weeks in all . “ There was a delay because the carpet , from one end of the room to the next , was a different colour , so after they laid it , they had to rip it out and it took four more weeks for new carpet to come ,” Jukes explains .
“ This church went through a major makeover ,” De Buglio sums up in his assessment . “ By changing the acoustics and sound system , it made the makeover complete , as if they just moved into a brand new church . Previously , the space undermined their worship , their music programs , and their ability to enable the participants ’ ability to have their talents blossom . Now that ’ s all changed . There are no more hindrances in any of the ministries that make a house of God a house of God . As a complete package , CS Acoustics did an excellent job in providing a sound solution that didn ’ t just address an outdated sound system , but a system that included acoustics as well .”
Ultimately , says De Buglio : “ The church spent money on quality gear and tried , at every step of the way , to solve problems by buying good electronics and now , with the money they previously invested , they ’ re starting to enjoy it . So , at this point , anything they add to the system will work well .”
Kevin Young is a Toronto-based musician and freelance writer .
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