The Dante digital audio signal is transmitted from a Yamaha PM7 console to the DS100 processor and out to the DS10 audio network bridges and out to the amplifiers running AES. Each speaker is directly driven by its own dedicated amplifier channel. “The 180-part is locational to the stage for which each microphone has a corresponding placement, represented by a circle on the PC display. The speaker outputs are time delayed to the nominated microphone for volume and position so that the worshippers believe the audio is emitting from the stage rather than the loudspeaker system.”
In a traditional left-right speaker setup, approximately 2% of the listening area receives equal level and sonic information from both speakers. “Very few members of the congregation receive an equal experience and there is little harmony between the visual and audible sensory experience. Therefore, it can be asserted that the sonic experience across the congregation is disconnected from reality by varying degrees. Soundscape brings back unity to the audio experience for a congregation, meaning that the pastor is heard identically by everyone seated in the congregation, who are all listening with eyes and ears aligned on their true physical location rather than the location of the nearest loudspeaker.”
Both the density of the channel-bus design and the need for processing workarounds at both channel and bus level have been significantly reduced. “By spreading the source objects across Soundscape, the enhanced headroom creates an openness and depth not normally evident in traditional audio setups. Reduced headroom equates to lower output power per loudspeaker position, which leads to reduced line array lengths, smaller sources or point source speakers or an augmented array such as the A-Series. This results in improved sightlines, and it also prevents the system cost from skyrocketing relative to a traditional setup.”
Houses of worship across the world have faced enormous challenges during the pandemic and stay connected with their congregants. However, Dowson feels that the downtime provided some valuable time to reconsider and re-evaluate best practices. “We had the time to carefully consider how technology can better facilitate a worship environment. This has raised the awareness of the value of technology which has led to more scrutiny being placed on proposed investments. Return on investment is paramount. The decision-makers are more conscious of today’s innovations becoming standards in five years’ time and they do not want to be left behind. As such, the uptake of Soundscape has increased substantially during the past two years.”
As with every d&b system, an evolving software and firmware roadmap will serve to ensure future value in terms of features. “The ROI within the worship context demands easier and improved audio mix operations, fewer distractions from a congregational perspective and an improved spoken word delivery whereby the communicator brings leadership to the service.” Creating new algorithms for these continued improvements and refinements will be key over the coming years – not that the integrator nor the technical volunteers need worry.
Since its launch in 2018, Soundscape has connected audiences and artists beyond the limits set by stereo and surround. “Soundscape represents a complete paradigm shift in the approach to loudspeaker system design, signal processing and distribution,” explains Asher Dowson, d&b’s global house of worship segment manager. “The technology seamlessly integrates into d&b’s holistic workflow and systems approach and can easily be set up and configured with d&b ArrayCalc simulation software. This has totally transformed the traditional left-right, LCR and mono mix configurations.”
Powered by the DS100 signal engine processor, the Soundscape algorithm distributes a maximum of 64 audio channels to 64 loudspeaker outputs. 3D mixing and room enhancement challenges are catered for with two optional software packages.
The software works effectively in either a 180° stage proscenium and crowd-facing setup or a 360° configuration with surround speakers throughout the room in addition to the stage setup. En-Scene provides 3D object-based sound placement and En-Space has been designed for acoustic manipulation and enhancement. By accurately depicting stage scenarios so that each object corresponds both visually and acoustically, the entire audience can hear what it sees and vice versa.
As an added extension of the d&b workflow, Soundscape introduces complex processing for simple and intuitive operation. “Such results would be very difficult to achieve by programming. Objects are moved within the R1 control software, which controls the DS100’s distribution of information based on where that object is in relation to a given speaker layout from the ArrayCalc design. This is automatically calculated with the algorithms powering the En-Scene and En-Space software modules. Knowing the behaviour of each loudspeaker in the design is key, so Soundscape will always work best as part of a complete d&b system.”
With other immersive technologies available on the market, Dowson believes that Soundscape differentiates itself as the only live spatial platform to adopt both time and level information relative to a source location for audio signal distribution across a loudspeaker system. “In comparison to other immersive setups, Soundscape delivers object-based audio information to a wider range of seats in contemporary house of worship layouts. It’s very flexible. Soundscape produces more of the intended result by ensuring cooperation between loudspeaker positions in a wide range of applications, particularly in fan-shaped auditoriums.”
To better support systems integrators, the manufacturer offers both local and remote training and support. “Soundscape systems need to be installed to an uncompromising standard of excellence. The new features within ArrayCalc need to be fully understood as they are immensely helpful when executing a Soundscape design. These include SPL mapping based on a sound object’s location relative to a given system layout and an indication of the audience’s perception of object location using psycho-acoustic parameters.”
Given d&b’s pedigree within the theatre and touring sectors, Soundscape experienced early success among the owners of premium venues and operators who were seeking a competitive edge. The HOW sector was naturally inquisitive and adoption soon followed. “In the worship setting, Soundscape can provide a deeper fulfilment by creating very intimate worship experiences. Congregations are bound by a deeper connection to the musical services and a much more natural spoken word delivery. By adopting En-Space, worship communities can reimagine their creative possibilities for storytelling and musical content relative to each service element like never before.”
A host of remote network control and tracking options including Dante and the R1 software extend Soundscape’s capabilities. The DS100 is open for integration via the AES70 (OCA) open protocol with consoles and show controllers, in addition to replay and tracking systems. “The DS100 matrix is capable of routing and processing audio beyond the sanctuary to other satellites and campuses or for transmission as broadcast feeds. The En-Scene module uses a window within the R1 remote software to determine where an object is located. The source’s relative position to the nearest loudspeaker is calculated using a timeand-level vector to determine how much of the source signal will be emitted from the system’s loudspeakers. This is replicated for all sources and can be controlled live by simple programming or using tracking devices.”
Designing AVL systems for a broadcast campus that streams audio and video to multiple other campuses is a balancing act. In addition to maximising the worship experience within the broadcast campus itself, the SI or consultant must consider how the high-quality content will be experienced when streamed to other campuses. CSD Group was similarly challenged at the Summit Church’s newly constructed Capital Hills Campus in Raleigh, North Carolina.
Both music and spoken word are the essential elements of the in-venue worship experience and, with audio being the main priority for that side of the project, CSD specified a d&b Soundscape-based system following a critically well-received and ultimately successful demonstration. “Summit Church was the first house of worship in the world to adopt a 360° Soundscape system,” explains Dowson. Specified for their high output and high directivity, 24S-D point source cabinets serve as mains and delays.
“In a non-immersive setup, a medium-format line array would have been deployed. Weighing in at a similar cost, the benefits to sightlines and coverage in addition to minimising energy onstage to empower mic headroom made it a no-brainer for the church.” Following a proof-of-concept and demonstration, 8S loudspeakers serve as the surround sound speakers. “Using the En-Space convolution reverb engine, these 8-inch enclosures add reverb where required. By installing the 8S speakers at the correct height and by spacing and driving them correctly, CSD provided coverage deep enough so that the worshippers towards the outer edges can experience the immersion.”
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