35 Applications for House of Worship
10 Items Per Page
RFI Suppressed on Six Signal Conductors
AN-2177
Description
The ST‑FS6 Ferrite Suppressor / RF Filter is used to attenuate excessive RF interference (RFI) induced in the wiring conductors by a nearby communications tower. The passive ST‑FS6 provides six isolated channels of highly effective ferrite RF suppression without capacitance to ground or series resistance. Two ground terminals are provided to be used as tie points for connecting cable shields (not pictured). The ground lugs have no internal connection to the suppression circuitry. Each of the six I/O terminals may be used independently for the suppression of RF on Audio, dc power or logic control signal conductors. RF interference on audio and control wiring causes unwanted audio noise or instability in control circuits. The ST‑FS6 is normally installed at the rack where signals are received. It is possible that interference may interfere with audio or control sending equipment, making it beneficial to install a suppressor module at both ends of the long interconnection lines.
Preamplified Microphone Signal Reduces Susceptibility to Interference Over Long Audio Line
AN-2184
Description
The STM‑1 Microphone Preamplifier is installed near the microphone to boost the mic signal level up to line level. The line‑level signal is sent over the long line to a line‑level input on the mixer. Potential hum or rf interference induced in the long line is attenuated by 50 dB because the house mixer input is no longer amplifying the input signal from mic level. The STM‑1 input accepts balanced dynamic or condenser microphones and applies 50 dB of gain to the signal. The balanced output is used to drive the long line.
Automatic Microphone Level Control for Enhanced Intelligibility with Untrained Presenters
AN-2149
Description
One channel of the rack‑mounted RDL HR‑MCP2 Dual Microphone Compressor is connected in‑line between each church microphone and the house mixer. The HR‑MCP2 automatically adjusts the volume for best intelligibility for a wide range of presenters’ speaking styles, from soft‑spoken to boisterous. Phantom voltage (IEC Standard 48 Volt) may be provided by the HR‑MCP2 to power any condenser microphone. The HR‑MCP2 provides transparent audio level adjustment and compression over a 25 dB range. It insures freedom from clipping and overload distortion, providing consistent audio levels throughout a presentation and/or from one presenter/speaker to the next. A single HR‑MCP2 provides automatic gain reduction for the two separate microphones, pulpit/lectern and wireless (with mic‑level output). Front‑panel LED metering strings simplify proper gain adjustment. Mount multiple HR‑MCP2 Dual Microphone Compressors in the rack to control all the microphones in the church for maximum system intelligibility.
Briefing Room Mics and Near-Field Monitors
AN-2247
Description
All audio processing in this briefing room is handled by a centrally located Dante‑enabled DSP. The RDL DD‑BN2M Bi‑Directional Mic/Line Interface connects the two microphones and the two permanently installed D‑PSP1 Decora‑Style Active Loudspeakers to the Dante network. Each D‑PSP1 serves as a near‑field monitor and is fed from the line‑level outputs on the rear of the DD‑BN2M. Each XLR input provides three switches that are set from the front of the unit before the cover plate is installed. One switch enables or disables P48 phantom; the second switch selects the mic or line gain range; the third switch sets the gain.
Remote Switching To Eliminate Unwanted Noise
AN-2003
Description
Audio monitor speaker signals often contain unwanted noise that is distracting to performers between musical selections or when the monitors are not in use. Examples include ambient pickup from live microphones or hum from instruments. During periods when it is desired to mute the monitors, users may manually turn them off using the RDL ST‑SSR1 solid‑state audio switch module (use 2 for stereo as shown). The RDL RT2 remote control may be mounted in any convenient location (such as podium or wall). The RT2 controls the ST‑SSR1(s) to switch on and off the stage monitor feed as required. This application may be used to mute the audio inputs to power amplifiers feeding either fixed or portable monitor speakers. This application is ideal for church choir monitors or for any performance area using stage monitors.
The RDL TX‑PA40D 40 W Stereo Audio Power Amplifier is shown in this system. RDL offers a wide range of power amplifiers for monitor and public address applications.
Automatic Muting To Eliminate Unwanted Noise
AN-2004
Description
Audio monitor speaker signals often contain unwanted noise that is distracting to performers between musical selections or when the monitors are not in use. Examples include ambient pickup from live microphones or hum from instruments. During these periods when performers are not actively listening to the monitors, the RDL ST‑GLA1 (use 2 for stereo as shown) mutes the audio signal to the monitor amplifier(s). The muting threshold is adjusted on the module to activate the audio for valid signal levels. The monitors will be muted at all other times. This application may be used in installations using either fixed or portable monitor speakers. It is ideal for church choir monitors or any performance area using stage monitors.
The RDL TX‑PA40D 40 W Stereo Audio Power Amplifier is shown in this system. RDL offers a wide range of power amplifiers for monitor and public address applications.
Multi-Channel Level Control for Theater or Control Room
AN-2159
Description
The RU‑VCA6A Six Channel Digitally Controlled Attenuator and RLC10K Remote Level Control are used to increase and decrease the level of the 5.1 Surround Sound source feeding the amplifiers. The RU‑VCA6A offers clickless level adjustment, accurate tracking and outstanding wide‑band, low‑noise studio quality performance. It can be controlled remotely by a variety of RDL or third‑party controls and/or locally via front‑panel pushbuttons. Each audio input and output may be configured balanced or unbalanced. Multiple RU‑VCA6As and/or RU‑VCA2As may be linked together for single‑point level control of 7.1, 10.2 or 22.2 surround sound systems.
Simple Three Mic Mixing Solution
AN-2036
Description
The mixing of multiple phantom‑powered mics is often required in various stage or public meeting room installations. The STD‑150 mixes the mic signals equally and passes phantom voltage generated by the mic preamp back to each of the mics. Each mic should have the same gain and should operate from a wide range of phantom voltage, as there is a small phantom voltage loss through the STD‑150. The STM‑3 works well in most applications but for critical, low noise installations the FP‑MP1 is recommended. The gain of the three microphones is set on the STM‑3. If individual mic gain adjustment is desired, use the RDL FP‑MX4 (4 channel ultra‑low‑noise mixer with switchable phantom and gain for each mic).
Audio Leveling and Overload Protection in a Church Audio System
AN-2181
Description
The RDL ST‑CL2 Compressor/Limiter is connected at the output of the church mixer to improve audio level consistency and avoid input overload of the PA system and the digital recorder that provides recordings of each service. The ST‑CL2 remains aurally transparent by automatically adjusting its compression ratio in response to the varying character of program material. It combines both inaudible gain reduction and the tight peak control necessary to prevent overload distortion at the input of digital devices. The inclusion of the ST‑CL2 Compressor/Limiter improves intelligibility for the live congregation and for people listening to the recording. The ST‑CL2 is easily set up using the two compression level LEDs provided.
Format-A with CATx Cable Adds XLR Mic Input at Ideal Locations with Wireless Bluetooth Source
AN-2251
Description
One Format‑A receiver is used to provide two mono line‑level signals to a local mixer in the equipment rack. Bluetooth L + R summed mono audio is sent to the receiver on pair B. Pair C is used to receive line‑level audio from the Format‑A microphone preamplifier mounted in the room. Audio is connected from the Format‑A senders through CATx cable with standard RJ45 connectors. The use of Format‑A provides flexibility in the location of the senders, simple connection using CATx cable and the economy of a single receiver and power supply.