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Houses of Worship • Theaters Night Clubs

Sound Reinforcement G

6408 216th St. SW | Mountlake Terrace, WA 98043 | USA | Tel: +1 (425) 778.7728 | Fax: +1 (425) 778.7727

SymNet Application: Sound Reinforcement


Contents

Introduction and Overview .......................1

SymNet Technologies for Sound Reinforcement:

Loudspeaker Management Modules .......................................... Page 2

SymNet Design for Sound Reinforcement:

Traditional Loudspeaker Management Design ........................................ Pages 3-4

Traditional Loudspeaker Management Control Screens ......................... Pages 4-5

SymNet Loudspeaker Management Design ............................................. Page 6

SymNet Loudspeaker Management Control Screens .............................. Page 7

Diagrams:

SR Signal Flow .................................Page 8

System Diagram ........................ Page 9-10

H Featured Products:

SymNet Express 8x8 Cobra ... Pages 11-12

Featured Article:

Rock Harbor Church .............. Pages 13-14


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IntroductionSound Reinforcement systems make live or pre-recorded sounds louder to distribute the sound to a larger or more distant audience. A sound reinforcement system may be as simple as a single microphone connected to a self-powered loudspeaker, or as complex as hundreds of microphones paired to sophisticated mixing, routing and signal processing which outputs to thousands of watts of amplification driving sophisticated loudspeaker arrays.

SymNet Sound Reinforcement systems are fully capable of handling all audio processing required for venues such as Houses of Worship, Theaters, Night Clubs, and more. External devices such as mixers, microphones and other media sources connect to SymNet hardware where processing such as EQ, Compression, Delay, etc. can be applied to the signal preparing it for the amplifiers and speakers. SymNet makes system tuning easier by combin-ing the most commonly used filters and delay into one module, known as the Loudspeaker Management Mod-ule. Smaart™-compatible versions of these modules can be directly controlled with computers running Smaart™ sound system measurement software for even greater speed, accuracy and simplicity.

OverviewOne of the most common aspects of a sound reinforcement system is known as back-end speaker management. We often refer to sound reinforcement systems as back-end processing systems because their processing happens at the end of the signal chain just before audio is sent to the amplifiers and speakers. In contrast, some of the other types of systems we have identified such as Automixing, Conferencing, and Audio Distribution are considered front-end systems. Typically a front-end audio system feeds a back-end sound reinforcement (speaker management) system. Traditional analog and digital mixing consoles are also examples of front-end audio systems.

Every speaker has its own audio characteristics and once installed into a space, the acoustic properties of the room also contribute to the way that speaker will sound. However, this contribution is not always desirable. The interaction between the speaker and room can cause certain frequencies to be louder or softer than other frequencies requiring corrective EQ. In addition, high fre-quencies travel faster than low frequencies and arrive at the ear first. Thus time alignment, using precision delays, is required to maximize sound quality.

Both loudspeaker design and room acoustics present challenges for a sound system engineer. Loudspeaker Management is the audio processing technology used to combat sound system or room acoustic anomalies. To varying degrees, every audio system requires some loud-speaker management. SymNet contains these tools and more to shape and align the audio throughout a facility.

Houses of Worship • Theaters • Night Clubs

www.SymetrixAudio.com 2Page

SymNet Technologies for Sound ReinforcementEqualization (EQ), Filters and Delay are the fundamental processes used to shape audio for speaker systems. A large variety of EQ, Filter, Crossover and Delay modules are available in SymNet.

Filters limit the range of the audio spectrum that each of the speakers receive. In addition to the primary filter types (such as high pass, low pass, shelving, etc.), specialized filter combinations known as Crossovers divide the audio spectrum into regions. Each individual speaker in the system only receives the region of the audio spectrum that speaker was designed to optimally reproduce.

EQ and filters are closely related. EQ alters a range of fre-quencies, surrounding a central frequency, to shape and enhances the audio spectrum that each speaker receives.

Delay is used to align speakers (high and low frequency drivers, for example) so that when the audio reaches the listener, all frequencies arrive at the same time. This is referred to as time alignment.

A large variety of EQ, Filter and Crossover modules are available in SymNet. System integrators can create any type of back-end speaker processing needed, whether it is processing the outputs of a mixing console during an event or working out the details of a theater surround system.

SymNet’s featured technology for sound reinforcement combines all of these processes into one convenient Loudspeaker Management Module.

G Loudspeaker Management Modules

To make things easier, SymNet provides Loudspeaker Management modules that wrap all the processing for a speaker into a single DSP module. The filtering, the EQ and the delay are contained in one module. To be precise, there are high pass and low pass filters, an 8 band parametric EQ and up to 340 milliseconds of delay. These modules are also compatible with Smaart™ and EASE™ industry standard software packages with measurement tools used to calculate system settings for EQ and Delay.

“Flattening” the system is audio lingo for using equaliza-tion and delay to adjust for speaker system and room irregularities. The goal is to represent all frequencies equally to the listener, especially in the midrange where the human ear is the most sensitive. Noise and tone gen-erators are often played through the loudspeakers while a microphone is used to measure the audio emanating from the speaker. This microphone attaches to the computer’s audio interface (not part of SymNet) to be analyzed by the Smaart™ or EASE™ software packages. Other times, system integrators will simply adjust the sound system to their liking by ear instead of using measurement tools.


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SymNet Design for Sound ReinforcementWe are going to explore two Sound Reinforcement designs that accomplish a similar task but with different methods. Both designs will process three audio feeds (LCR) from a mixing console.

The first design uses standard processing modules like Crossovers, EQs and Delays while the second design uses the SymNet Loudspeaker Manager modules along with a Matrix Mixer.

The second design is more flexible, accommodating almost any back-end speaker system and is not geared towards a specific speaker configuration like the first design. It is more a ‘universal’ approach versus a task-specific approach.

Both designs represent a typical medium sized House of Worship or Theater using a standard audio mixer to mix five microphones. The Main Left, Right and Center (Mono) mixer outputs are connected to the SymNet Express 8x8 Cobra device. SymNet then processes the audio before

sending it to the amplifier and speaker systems. This System Diagram depicts the overall layout.

G Traditional Loudspeaker Management DesignIn the first example, seen at the top of the following page, the audio enters the Analog Ins feeding the initial gain stage. Proper gain staging is a must for a well-behaved system and signal levels should average around -20 dBFS on the meters.

! Input Super-module: This module provides digital trim and metering of the signal.

@ Speaker Management Super-module: The Speaker Management Super-module contains the majority of the processing for the speakers. It contains Equalizers, Crossovers and Delay modules.

# Output Super-module: This module contains output meter-ing and a Control Screen for the output section.

Each Super-module also has a Control Screen.

Super Modules Design View

Site File Configuration View


Speaker Management Super-module: Inside of the Speaker Management Super-module is the processing for the LCR system. The left and right channels remain in stereo throughout the signal path. This avoids any latency that may occur by splitting the channels into two mono signals. There is an initial gain stage and a 31 Band Graphic EQ before the signal is routed into the Crossover modules. The Graphic EQ provides additional user control by allowing adjustments in real time. Audio is then routed to the Crossover, which divides the audio into low and high bands. The low and high signals are routed through dedicated 6 Band Parametric EQs, Delays and finally to a Limiting stage before the audio is routed to the outputs.

The mono processing signal path is identical to the stereo processing stage, with the exception that it uses mono modules.

The Sub output is derived from the stereo signal and uses the Mono Sub Crossover module to create a signal for the sub-woofer system. From this point on, the signal processing for the sub is the same as the other signals.

G Traditional Loudspeaker Management Control ScreensMain Control Screen:

There is a “Main” button on the Configuration and Design Screens linking to the Control Screen section. The Main Control Screen displays the I/O for the system from left to right and acts as the primary navigation page to view the other Control Screens.

Inside the traditional Speaker Management Super Module


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Input Control Screen: The Input Control Screen sets the initial gain for the audio signals. Phantom Power can also be turned on or off. The gain buttons should be used to “rough in” the input gain as these buttons are an analog gain adjustment. Adjusting the input gain in the analog domain helps maximize signal to noise ratio and A/D converter resolution. The faders adjust the input gain in the digital domain and can also be used to “fine tune” the input gain. At the input stage, audio signals should aver-age around -20 dBFS. The input gain should never be set so high that the system peaks or clips.

Speaker Manager Control Screen: This Control Screen is attached to the Speaker Manager Super-module. The input section is made up of the left three channels

and has links to the Equalizer modules along with fader/mute control. The metering is pre-processing, therefore changes in the gain or the EQ will not affect the metering.

The seven output channels are on the right. There are button links to the Crossovers, EQs, Delays and Limiters. There are also ON buttons to engage the EQ and Delay processing. The metering here is post-processing, mean-ing all changes to the audio are metered.

Output Control Screen: The Output Control Screen con-tains the Mutes, Metering and the Output Level selection (+4dBu or -10dBV) for each of the eight analog outputs. Only even outputs are used in this design.


G Loudspeaker Management with SymNet Loudspeaker Management Module DesignThis second example is a more flexible approach to the task described in the first example (on page 3). The programming is the same except for the speaker manager/output stage. Since the hardware used for both our "traditional" and SymNet Loudspeaker management examples is the same, we will focus on the Output Matrix Super-module and the new programming for this design.

Output Matrix Super-module: The signal flows through a gain stage before it is sent to the Matrix module. The matrix mixes and routes the audio into the Output Volume module that controls the individual volume controls for each speaker. Next are the Speaker Manager Modules. In this design they are labeled Spk1-8. Finally, the audio is metered before it is sent to the hardware outputs.

The Output Matrix Super-module

Example 2


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Now we will configure the matrix to accomplish the same routing as the page 6 example.

Matrix Routing for Design #2 (right) accomplishes the same system as Design #1 (above). The Left Channel feeds the L Hi, L Low and the Sub out. The Right Channel feeds the R Hi, R Low and Sub out. The Mono channel routes to a CTR Hi and CTR Low output. Volumes and mutes on the left can be linked to tie the Left and Right controls together.

The Loudspeaker Manager modules on each channel use high pass and low pass filters to control the range frequencies for each channel. The module also provides the EQ and Delay necessary for fine tuning. Bypass buttons for each function of the Loudspeaker Manager module are also provided.

G Loudspeaker Management with SymNet Loudspeaker Management Modules Control ScreensOutput Matrix Screen:

This is the Control Screen attached to the Output Matrix Super-module. On the left are the input volumes, mute and linking for audio routed into the matrix. Audio is then routed to the outputs by engaging buttons in the matrix. Any input can be routed to any output. This is the output matrix for the "traditional loudspeaker design" example on page 3. Each input is routed to the same numbered output.


Digi Trim

Digi Trim

Gain Set /Invert

Digi Trim

LEFT

Mute

Gain Set /Invert

RIGHT

Mute

Gain Set /Invert

MONO/CENTER

Mute

31 BandStereo

GraphicEQ

2-WayCrossOver

31 BandGraphic

EQ

Gain

Gain

Gain2-WayCrossOver

6 BandStereo

EQ

6 BandStereo

EQ

6 BandStereo

EQ

6 BandEQ

0-2 sec.StereoDelay

0-2 sec.StereoDelay

0-2 sec.StereoDelay

0-2 sec.Delay

StereoLimiter

StereoLimiter

StereoLimiter

Limiter

L-High

R-High

L-Low

R-Low

Sub

Mono High

Mono Low

1 Out

2 Out

3 Out

4 Out

5 Out

6 Out

7 Out

Standard Crossover Speaker Management Approach

1 In

2 In

3 In

4 None

8 None 8 None

L-High

R-High

L-Low

R-Low

Sub

Mono High

Mono Low

Output Gain

SubLPF

Digi Trim

Digi Trim

Gain Set /Invert

Digi Trim

LEFT

Mute

Gain Set /Invert

RIGHT

Mute

Gain Set /Invert

MONO/CENTER

Mute

Matrix

SymNet Loudspeaker Manager Module Approach

1 In

2 In

3 In

4 None

8 None 8 None

Gain

Left - High

Mute

Loudspeaker Manager

Delay HPF LPF8 Band

ParametricEQ

Inv.

Gain

Right - High

MuteDelay HPF LPF

8 Band Parametric

EQInv.

Gain

Left - Low

MuteDelay HPF LPF

8 Band Parametric

EQInv.

Gain

Right - Low

MuteDelay HPF LPF

8 Band Parametric

EQInv.

Gain

Center - High

MuteDelay HPF LPF

8 Band Parametric

EQInv.

Gain

Center - Low

MuteDelay HPF LPF

8 Band Parametric

EQInv.

Gain

Sub

MuteDelay HPF LPF

8 Band Parametric

EQInv.

Zone Volume

Zone Volume

Zone Volume

1 Out

2 Out

3 Out

4 Out

5 Out

6 Out

7 Out

1

2

3

4

5

6

7

8

1

2

3

4

5

6

7

8

Loudspeaker Manager

Loudspeaker Manager

Loudspeaker Manager

Loudspeaker Manager

Loudspeaker Manager

Loudspeaker Manager

Sound Reinforcement Signal Flow

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Sound Reinforcement System Diagram

1 2

1 2

1 2

SymNet Equipment List:• 1 x Express 8x8 Cobra• 1 x ARC-2

Host Computerrunning SymNet Designer

LCR and SubAmplifiers

in Amp/SymNet rack

CAT 5

CAT 5

CAT 5MainWireless Mic

Sub Woofers

XLR Mic Snake

LCR Outputs

Mic Inputs 1-5

Mixing Console Host Computer

RightPulpit Mic

LeftPulpit MicLeft

Choir MicRight

Choir Mic

Main RightSpeaker

Main LeftSpeaker

Main CenterSpeaker

Line Outputs1-7

Amp/SymNetRack Room

Left AmplifierHigh/Low Inputs

Right AmplifierHigh/Low Inputs

Center AmplifierHigh/Low Inputs

SubwooferAmplifier Input





Euro/XLRLine Snake

LCRInputs

ARC-2

Express 8x8Cobra

in Amp/SymNet Rack

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1 2

1 2

1 2

SymNet Equipment List:• 1 x Express 8x8 Cobra• 1 x ARC-2

Host Computerrunning SymNet Designer

LCR and SubAmplifiers

in Amp/SymNet rack

CAT 5

CAT 5

CAT 5MainWireless Mic

Sub Woofers

XLR Mic Snake

LCR Outputs

Mic Inputs 1-5

Mixing Console Host Computer

RightPulpit Mic

LeftPulpit MicLeft

Choir MicRight

Choir Mic

Main RightSpeaker

Main LeftSpeaker

Main CenterSpeaker

Line Outputs1-7

Amp/SymNetRack Room









Euro/XLRLine Snake

LCRInputs

ARC-2

Express 8x8Cobra

in Amp/SymNet Rack

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DSP Hardware

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Express CobraSymNet Express Cobra is a family of 19” rack-mountable digital signal processors (DSP) that are setup and controlled by SymNet Designer software. They are ideal for audio applications such as churches, con-ference rooms, courtrooms, night clubs and many others. ARC Wall panels easily integrate with Express hardware and provide simple user control of the system.

There are four analog I/O options available for the Express line: 12x4, 4x12, 8x8, and 4x4. Express devices also employ the industry-standard CobraNet® technology to share audio between devices supporting 16 inputs and 16 outputs of CobraNet audio over Ethernet in addition to the analog I/O. Express devices are intended for single device installations as well as installations with modest expansion requirements.

Devices are initially configured through the RS-232 port on the rear panel. This same port is used to connect to external control systems from AMX, Crestron, and others. Once the system is initially config-ured, Express devices can be addressed and controlled over Ethernet.

Any of the ARC Wall Panels can be connected via CAT5 cable to an RJ-45 jack on the rear panel. One channel of analog audio can be routed to or from the wall panel over the CAT5 cable for simple pag-ing or monitoring needs. Express also includes an RS-485 port for extending the ARC and external control capacity.

SpecificationsGENERAL SPECIFICATIONS AUDIO SPECIFICATIONS

Processors2 x Analog Devices SHARC 21161N @ 100 MHz SIMD

Converter Type 24-bit Sigma Delta

Raw processing capacity 200 MIPS, 800 MFLOPS sustained Sampling Rate 48 kHz, +/- 100 ppm

Analog control inputs 0-5 VDC Frequency Response 20-20 kHz, +/- 0.5 dB

Recommended external control poten-tiometer

10k Ohm, linear A/D dynamic range > 110 dB, A-weighted

RS-232 host serial I/O

115.2 or 57.6 kbaud, 8 data bits, 1 stop bit, no parity, no flow control wired straight-through, only pins 2, 3, and 5 required

D/A dynamic range > 110 dB, A-weighted

RS-232 accessory serial I/O

38.4 kbaud (default), 8 data bits, 1 stop bit, no parity, no flow control wired straight-through, only pins 2, 3, and 5 required

Total THD+ Noise < 0.005% @ 1 kHz, -1 dBFS

RS-485 serial I/O38.4 kbaud (default) 8 data bits, 1 stop bit, no parity, no flow control wired in parallel with STP cable.

Delay memory 43 mono seconds

Ethernet/CobraNet CableStandard CAT5, maximum device to device length = 100 meters

Input impedance 6.67k Ohms, balanced

ARC CableStandard CAT5, distance dependent upon load.

Output impedance 204 Ohms, balanced

Maximum devices per SymLink Ring 1 Maximum input level +29 dBu with 6 dB pad, +23 dBu w/o pad

Maximum SymLink Rings 31 Maximum output level +24 dBu, 100k Ohms; +21 dBu. 600 Ohms

Maximum stored presets 1000 Mic preamp EIN -129 dBu typical, 22-22 kHz, A-weighted

Phantom power (per input) +48 VDC, 10 mA

Input CMR > 70 dB @ 60 Hz

Channel separation > 100 dB, in through out @ 1 kHz

Express 8 x 8 Cobra


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Architect and Engineer Specifications: SymNet Express Cobra.The series of four DSP audio matrix devices shall include four different configurations of balanced mic/line inputs and balanced line outputs on plug-in barrier-strip connectors. These configurations shall be 12x4, 4x12, 8x8, and 4x4. Each shall be offered with CobraNet compatibility. Additionally each device shall include two analog control inputs, one open collector output, and one relay output on plug-in barrier-strip connectors, ARC interconnect on one RJ-45 connector, ARC Audio on one plug-in barrier strip connector, and 24 VDC backup power on one 4-pin male XLR connector. The devices shall include one RJ-45 connector for CobraNet network audio. Audio inputs and outputs shall be analog, with internal 24-bit A/D & D/A converters operating at a sample rate of 48 kHz. All internal processing shall be digital (DSP). Software shall be provided for creating/ connecting DSP system components within each hardware device. Available system components shall include (but not be limited to) various forms of: mixers, equalizers, filters, crossovers, dynamics/gain controls, routers, delays, remote controls, meters, generators, onboard logic, and diagnostics. Ethernet or serial communications shall be utilized for software control and configuration. After initial programming, processors may be controlled via dedicated software screens, third-party RS-232 control systems, and/or optional analog or RS-485 remote control devices. A designer software application shall operate on a Windows computer, with network card installed, running Windows® 98/2000/XP. The DSP series shall be CE marked, CSA tested to UL 60065.

The DSP series shall be SymNet Express Cobra.

Mechanical DataItem Specifications Remarks

Space Required1U (WDH: 48.3 cm x 27.4 cm x 4.37 cm / 19 in x 10.8 in x 1.72 in). Depth does not include connector allowance.

Allow at least 1 inch additional clearance for rear panel connections. Additional depth may be required depending upon your specific wiring and connections.

Electrical 100 to 240 VAC, 50-60 Hz, 60W maximum. No line voltage switching required.

VentilationMaximum recommended ambient operating tempera-ture is 30 C / 86 F.

Fan on equipment right pulls hot air out of device. Air intake at equipment left. Ensure that the left and right equipment sides are unobstructed (5.08 cm, 2 in minimum clearance). The ventilation should not be impeded by covering the ventilation open-ings with items such as newspapers, tablecloths, curtains, etc.

Shipping Weight 6 kg (12 lbs.)

! Main Power: Accepts power from detachable IEC power cable (100-240 VAC, 50-60 Hz, 60 Watts max).

@ Aux Power: Accepts power from Symetrix model PS-7 or user-supplied auxiliary power connection (24 VDC, 2.5 Amps, 60 Watts max).

# ARC Audio: Splits a single analog line level audio signal off of the ARC port. Can be wired to a line level analog input or output jack for remote audio over CAT5.

$ ARC: Distributes power and RS-485 data to one or more ARC devices.

% RS-485: Connects to a Control I/O, ARC-PS, ARC or other Symetrix SymNet family RS-485 controller, wired in parallel (A to A, B to B and GND to GND) using shielded twisted pair. Port Settings: 38.4 kbaud (default), 8 data bits, 1 stop bit, no parity, no flow control.

^ RS-232: Serial communications interface for SymNet Designer on the host PC or a 3rd party accessory controller. (Mode is determined by the “RS-232: Host / Acc” mode switch.) Port Settings (Host): 115 or 57.6 kbaud, 8 data bits, 1 stop bit, no parity, no flow control. Port Settings (Acc): 38.4 kbaud (default), 8 data bits, 1 stop bit, no parity, no flow control.

& Device Config: Configures the RS-232 port mode, RS-232 port host mode baud rate and Ring Number (device address).

* Ethernet: 10/100 Base-T Ethernet port for SymNet Designer host control over IP. IP control must be setup from SymNet Designer via RS-232 first for security.

( CobraNet/Ethernet: 10/100 Base-T Ethernet port for CobraNet audio, 16 send and 16 receive channels. (Future software versions may support SymNet Designer host control over IP+CobraNet on this same port.)

BL Relay Out: 1 SPDT relay rated at 3 Amps, 24 VDC, resistive; 0.3 Amps, 60 VDC, resistive and can be wired normally open or normally closed. This relay can also be used for power failure detection or emergency alarm system integration.

BM O/C Out: 2 open collector outputs with a paired common ground pin. O/C outputs go low (0V) when active, and are internally pulled high (5V) when inactive and can drive external LED indicators directly.

BN Control In: 2 analog control inputs able to be used as 2 potentiometer inputs, 2 mechanical rotary encoder inputs, or as 4 switch inputs (+5 VDC reference voltage supplied).

BO Analog Outputs: 4, 8 or 12 analog line level audio inputs with individually software-selectable level of -10 dBV or +4 dBu.

BP Analog Inputs: 4, 8 or 12 analog mic / line level audio inputs with individually software-selectable phantom power and level of -50 dBu, -40 dBu, -20 dBu, -10 dBV or +4 dBu.

www.SymetrixAudio.com13Page

Featured Article

SymNet Simplifies Life at Rock Harbor ChurchCosta Mesa, California:Rock Harbor Church in Costa Mesa, California is a vision-ary, ultra-contemporary church of 8,000 members that has done an exemplary job of merging the all-too-often disparate worlds of community, daily living, and the church.

In anticipation of their ten-year anniversary, Rock Harbor dramatically expanded their facilities by acquiring the 80,000 square-foot building across the street from their church for high school and junior high classes, offices, youth services, and community meeting rooms. Their request to AV system designer Paul Dexter was, as the saying goes, much easier said than done: with audio and video integration, let any of the seven meeting rooms

(including the 200-seat and 500-seat EAW rooms) be overflow for any of the other meeting rooms. Apart from his audio prowess, Dexter relied on a SymNet 8x8 open-architecture DSP processor to deliver Rock Harbor's request with an elegant interface that exceeded the expectations of everyone, including Dexter himself.

A Grammy-nominated, twenty-year veteran of the studio engineering world, Dexter has begun to bring the expertise of his finely tuned ears to bear on the world of installed audio. He won this job with Rock Harbor be-cause of another seeming miracle he performed for them a few years back. "They had recently made the happy switch from a portable to a permanent church and had invested several hundred thousand dollars on a sound system for it," he recalled. "But it sounded terrible. I came in, added some things, took some things away, and tuned it up to the point where they are now known in Orange County for how good their system sounds."


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Thus, they held Dexter in high regard. Nevertheless, sev-eral of the audio-oriented staff were wedded to the idea of using a DSP other than SymNet because it was what they knew other churches were using. "What changed their minds wasn't the DSP capabilities of the SymNet 8x8. They weren't system designers and therefore couldn't appreciate its strengths," he said. "What sold them on SymNet was the ARC-SWK interface controller. It has four buttons on the left and a knob on the right. It's elegant, solid, and remarkably easy to use. They thought it was totally cool.”

The two larger rooms weave more elaborate stage inputs through Soundcraft GB2-24 mixers. The mixer outputs feed some of the twenty inputs to the SymNet system, achieved by adding a SymNet BreakIn12 to the 8x8 DSP core. The SymNet 8x8 DSP provides all of the processing for the host of EAW MK2396 mains, EAW SB180 subs, and Yamaha monitors used in these two rooms. A SymNet BreakOut12 brings the SymNet output count to twenty as well.

The smaller rooms use a similar setup, replacing the larger desks with Allen & Heath MixWizard 16:2s and the larger speakers with SoundTube RS600is and Sonance 623tsqs. QSC CX-series amplifiers provide power for all of Rock Harbor's new speakers. An iPort in-wall iPod dock allows the receptionist to play music that any room can access with the push of a button on the SymNet ARC-SWK controller. Alternatively, two additional iPorts allow the iPod-toting kids of Rock Harbor to provide their own entertainment in the rooms where they hang out.

In a nutshell, every room has two outputs: one from its AV desk mixer and one from a "worry free" microphone. Each mixer output is maintained at unity so that any other room that listens in can get a good level. Room volume is controlled from the SymNet ARC-SWK. The "worry free" microphone bypasses the mixer and goes straight to the SymNet 8x8 DSP, which uses an autogain module to achieve a perfect output level that's buffered against poor microphone technique.

"Users simply push a button on the ARC-SWK to select the room they want to listen to and use the knob to control the volume," said Dexter. "The SymNet interface made, what is in actuality a very complicated system, very simple for Rock Harbor. There are two people in charge

of audio there, and one knows content but little about audio technology. She contacted me the first weekend the system was up and said it was amazing."

Despite its complexity and the fact that Dexter had never programmed a SymNet unit before, all the programming took less than a day. "I spoke with my rep for forty min-utes and with the very helpful SymNet tech support staff for forty minutes and was off and running," he said.

Although he could have integrated the SymNet 8x8 DSP to handle the video switching, Rock Harbor requested that the two systems remain independent so that one room could listen to another room while focusing on their own visual information (usually PowerPoint). A camera in the back of each room feeds an RF modulator. Each room is on a different frequency and a channel-selectable DVD player in each room can tune across those frequencies to select the channel (room) they want to watch. Dexter's design originally called for video projectors, but an $80,000 budget cut forced him to make changes in the least noticeable places. As a consequence, 60-inch Pana-sonic plasma displays provide video in the larger rooms while 47"-inch Vizio LCD panel displays provide video in the smaller rooms.


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© 2008 Symetrix, Inc. All rights reserved. Printed in the United States of America. Symetrix Part Number 53SNA6-0A01. The information in this document is subject to change without notice. Symetrix, Inc. shall not be liable for technical or editorial errors or omissions contained herein; nor is it liable for incidental or consequential damages resulting from the furnishing, performance, or use of this material. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Symetrix assumes no responsibility with regard to the performance or use of these products. Under copyright laws, no part of this brochure may be reproduced or transmitted in any form or by any means, electronic or mechanical, without permission in writing from Symetrix, Inc. If, however, your only means of access is electronic, permission to print one copy is hereby granted. The following are either Trademarks or Registered Trademarks of Symetrix, Inc.: Symetrix, SymNet, SymNet Designer, SymLink, and CobraLink. Windows is a Registered Trademark of Microsoft, Inc.. Other product names mentioned herein may be trademarks and/or registered trademarks of other companies and are property of their respective owners.

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Florida MICHAEL CHAFEE ENTERPRISES Michael Chafee [email protected] 1891 Porter Lake Drive #104 Sarasota, FL 34240 T: +1 (941) 343-0775 F: +1 (941) 343-0772

New England NOREAST MARKETING David Bierut [email protected] 119 Deerfield Road Windsor, CT 06095 T: +1 (860) 285 0636 F: +1 (860) 285 0686

WY, CO, NM, UT, Billings MT PEARSON & PEARSON MARKETING, INC. John Pearson [email protected] 69520 E. Jewell Ave., Suite C Denver, CO 80247 T: +1 (303) 306-6800 F: +1 (303) 306-6888

AZ, S.CA, S.NV ALLIANCE AUDIO GROUP Matthew Jensen [email protected] 10754 Noel Street Los Alamitos, CA 90720 T: +1 (714) 229-2056 F: +1 (714) 229-2059

IL, IN, MI, MN, WI, OH, ND, SD STARIN MARKETING Neal Weber www.starin.biz 136 Venturi Drive Chesterton, IN 46304 T: +1 (317) 577-4290 F: +1 (219) 929-4377

DC, DE, MD, S. NJ, PA, VA, WV TOWLES MARKETING Mark Towles [email protected] 8030-34 Main Street, 3rd Floor Front Ellicott City, MD 21043 T: +1 (410) 465-7100 F: +1 (410) 465-7860

IA, KS, MO, NE, Southern IL CADON TECHNICAL SALES Michael Canning [email protected] 500 Haber Park Court, Suite 103 Weldon Spring, MO 63304 T: +1 (636) 300-3671 F: +1 (636) 300-3681

Northern CA, Northern NV, Hawaii TROUT FARM TECHNICAL SALES John Hood [email protected] 4219 South Market Suite A Sacramento, CA 95834 T: +1 (800) 480-8544 F: +1 (800) 408-2145

International SalesEurope, Africa, Middle East WORLD MARKETING Francis Williams [email protected] 26 Penwinnick Road, St. Austell Conrwall, PL25 5DS, UK T: +44 (0) 1726 874184 F: +44 (0) 1726 874185

Asia SYMETRIX – Asia Applications Specialist Hock Thang [email protected] 1 Jalan Taman, Unit No: 10-05 Singapore 329022 T: +65 90091263

Asia, Australia, South Pacific, India S~WAVE MARKETING Kris Jackson [email protected] 1996 Valley Rim Road El Cajon, CA 92019 T: +1 (619) 444-6060 F: +1 (619) 444-7070

Latin America, Caribbean AUDIO AGENT Dave Christenson [email protected] 155 108th Ave. NE, Suite 210 Bellevue, WA 98004 T: +1 (425) 605-0658

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