sticky situation

cost: under $20

materials: 6 rolls of clear packing tape

Though not quite as versatile as duct tape, packing tape certainly has its utility. While virtually clear without lighting, the tape glows dramatically as it slices through the luminous beams. This set was simply constructed by connecting our catwalk to a central point on a stage batten [which was first coated with plastic wrap to aid in easy, adhesive-free removal]. Between 20-25 strips run overhead, while 15-20 strips spider from the stage batten to two trusses flanking the stage behind the band. Simple, striking and… sticky…

Like to see us in action? http://vimeo.com/36568361

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Ignite

budget: under $100

materials: 80 cardboard [54"x 3"] tubes, screws, 20′x1″x1″ square aluminum tubing, 1/8″ cable, cable clamps, hot glue

weird criteria: needs to be flown out of sight on stage batten

This set was for a series called “Ignite.” We needed a set that could disappear one week and reappear the next [in the middle of our series our church would be the venue for a Jars of Clay concert]. The easiest solution, we determined, would be something that can hang from a moving batten and be raised out of sight when needed. It just so happened that we had access to a bounty of free cardboard tubes from a local printing company (Sign Factory) and were looking for a fun way to use them.

We arranged the tubes on our stage and hot glued them together inorder to keep them in place while we screwed the aluminum tubing to each of the tubes. We cut the aluminum into varying lengths (8-10′) and overlapped placement to add strength. In order to hang this, we used 1/8″ thick cable [or wire rope, depending on who you ask]. On the ends, we attached the cable to the aluminum tubing that was bracing the tubes. In the middle, we chose a few tubes to run aluminum tubing inside of and anchor in place with screws. We could then drill a hole through both the tube and the aluminum and attach the cable. The hanging cables were attached in 5 fairly evenly spaced positions. We learned a lot about hanging awkward shaped heavy things from battens through this project.

Our abstract design got lots of positive feedback and lots of guesses as to what exactly it was–seismograph reading, equalizer, cityscape, match sticks, EKG for someone with a really sad heart–naturally we said yes to all of them :)

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Finding Christmas [2010]

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Christmas is one of those energetic and enthusiastic times of year. The excitement is one of those things you wish you could bottle up and save for when things get a little humdrum. Well, hey, speaking of bottles… [terrific segue]

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Bottles were just our ticket for building a 12 foot tall ‘glass tree’ on stage for our Finding Christmas series of 2010. 483 glass bottles were lovingly hung with 20 lb. test fishing line from an overhead batton on our stage.

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We constructed a 6′ wide, 12′ tall cone-shaped skeleton from 1″ aluminum tubing, welded aluminum angle and polycarbonate sheeting of varying thicknesses (thickest at the widest part of the cone). Using a clear material made it possible to light the bottles on all sides using LED strips. We attached the polycarbonate to the aluminum frame using self-drilling screws, which worked well to attach it not only to the tubing, but also to pin the layers of polycarbonate together where the layers overlapped. [Pictured below is our trial assembly (off-site) for proof of concept with only the first two layers.]

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With a cone this size, it would have easy taken 1,000+ bottles to cover the cone 360°. Where the tree was positioned on stage, it wasn’t necessary to cover the back, so we flanked the tree with translucent tree-shaped coroplast to keep the bottles front and center. [side note: glass bottles vibrate and rearrange themselves when the band plays, so that was fun and kept things interesting]. Below are pictures from our Christmas services. Nothing like a little dry ice, some oversized ornaments and fantastic lighting to make it come alive.

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Josh displaying our larger-than-life ornaments.

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Stage mockup.

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Lobby decoration [not mentioned in post. just wanted to see if you look at the end of these crazy posts. good job. rewarded with random picture.]

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the box

Hi friends! I’d say it’s about time we share about some of stage setups (about time indeed, seeing as how the first set i’m going to share with you is from October 2010)! The series was called “the Box,” and thus it seemed suitable to hang and stack approximately 80 empty cardboard boxes. We really wanted to extend beyond the stage… outside the box so to speak (insert rim shot here).  Needless to say that Adam and I became very well acquainted with the catwalk and fishing line (and a smelly pink rope, but that story is for another time). This set was the first of many to follow where boyscout knot tying knowledge would have come in handy. Our thought with this setup was sort of an explosion of boxes that had tension and drama added with the suspension and lighting. CRC’s very talented lighting team really made this set come alive and helped this set rank in my top 10 favorite CRC sets.

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New Nion Configuration

There had been a request from hospitality for walk-in music to be playing in the lobby while we are still rehearsing on Saturday evening and during soundcheck Sunday morning. This got me thinking about how our Nion is currently configured, and some changes that I’d been wanting to make. Here’s a look at the new screen (with changes highlighted in red):

First thing you’ll notice is that the metering has changed.  There is no longer a front fill meter (you’ll see why in a minute), and I’ve added gain reduction metering to show the protection limiting that’s going on in the main array, center fills and front fills.  The gain reduction metering is really just for our own curiosity, and shouldn’t impact mix decisions in any way.

Next, in the trim controls, I’ve split the front fills into two separate controls, one of the two fills on the outside sections, and one for the two fills in the center seating area.  This will offer just a little more control over how the fills and subs are balanced down front.

On the right you’ll see that we no longer have an option to select MAINS or AUX for the FRONT FILLS.  Considering we have never used that once in the five years in the building, I decided to use that existing Nion input to feed a direct-out of the iTunes Mac.  The select switch is now to determine the LOBBY source – either iTunes direct or Mains.  This way we can select iTunes during rehearsal and let it run in the lobby while we are still making noise in the auditorium.  We will need to remember to switch that to Mains.  I would recommend doing that at the start of the 5:00 timer when we reset the SMAART Leq 60 minute average.  (I’ve set up iCal reminders on the ProTools iMac to pop up at 5:00 before service to remind us).

One last change is that the 0dB system setting is now equivalent to what the +3dB setting was, and +3dB is now an additional 3dB of gain above that.  So 0 is a good place to be.

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360° Leadership Conference

budget: under $100

materials: white landscape marking tape, 20′ x 1″x1″ square aluminum tubing, 1/8″ thick cable, cable clamps, gaffers tape, paper lanterns

We needed a quick and easy dual purpose set for a two day conference that our church hosted in November/our Thanksgiving series. This set started with a scribbled sketch and grew into reality.

We attached the landscaping tape to the aluminum tubing 6″ apart using gaffers tape. We then suspended the aluminum tubing from our movable battens (and the catwalk on the part that extends furthest beyond the stage). The twist created nice dimension and a fun palette for our lighting guys.

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Matrix-fed P.A.

So after a lot of thinking, and tweaking, we are moving in the direction of using a stereo matrix to feed the main PA, and a mono matrix to feed the subs.  There are several reasons for the change, with the main one being a more definite control of the wet mix we are using to feed our two-track recording, as well as other areas.  Here’s how it will work:

Matrix 5&6 are feeding the main L-R input to the PA.  We are mixing the playback group, talk group and Left/Right buss of the console into this matrix at unity gain.  All sources used for the music portion of the services (that aren’t bussed in groups that are assigned to LR) will be assigned to LR.  This way we can process that whole buss with the plugs that we want without affecting the playback devices or speaker mics.

Individual playback device channels (multimedia, CD, iTunes, etc.) will NOT be assigned to LR, instead to the playback group.  Individual drum channels and guitar channels will also not be assigned to LR, instead to their respective groups, which are then in the LR group.

Talking head mic channels will continue to be bussed to the Speaker group, where it is notched with a 31-band graphic for feedback, and then sent to the PA matrix.

Now, the subs feed is a little different.

With the sub feed, we are basically taking everything that is assigned to the LR buss (band and vocals) and feeding that to the subs, plus the playback devices.  With this matrix we have variable control of those to feeds, and we also won’t be sending any of the talking head mics to the subs.  This will give us a more true overall PA response, the way the system was tuned to perform.  Yeah, we’ll have a little more junk in the subs than we might want from vocals, etc., but I think the trade off will be worth it.

Here’s a look at what we can do with our two-track wet mix now:

With the main 2-track wet mix being fed from varying busses, we can create a more level-balanced recording for quicker cutting after the service.  We’ll experiment with gain variables, but we can bring the speaker mics up significantly comparable to the L-R worship group.  We will continue to compensate for equal loudness with our corrective EQ.  Make sure we’re saving that EQ plugin in the snapshots, and turning it off during any spoken word or video playback parts.

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Visual Welcome

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Stage Crew Welcome

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Multimedia Welcome

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