In the studio, the band regularly had speaker boxes full of cocaine delivered. The recording was plagued with problems, many due to substance abuse. This time, we did it with Patrick (Meehan), our manager, and I think we're all very happy… It was great to work in an American studio." Meehan had little actual involvement in the album's production but nonetheless insisted he be listed as producer, according to Iommi. "Previously we had Rodger Bain as a producer – and, although he's very good, he didn't really feel what the band was doing. "It's the first album we've produced ourselves," said vocalist Ozzy Osbourne in 1972. 4 is officially credited to Black Sabbath and Patrick Meehan, the bulk of the actual production was performed by guitarist Tony Iommi. “The system is also very simple to operate, which is what we need as a church.Though the production of Vol. “From our first hearing of VRAS to the completion of our Constellation install, the response of the congregation has been nothing but positive,” says Cohen. In addition to the Constellation system, Laguna also installed a main reinforcement system that features 14 UPM-1P, four UPM-2P, two CQ-2, eight UPJunior VariO loudspeakers, and 15 Stella-4 installation loudspeakers, as well as 500-HP and USW-1P subwoofers. Sixteen miniature cardioid and omnidirectional microphones throughout the room pick up the room’s acoustics and these signals are processed by one MS-Constellation and two MS-VRAS processors. oversaw the audio upgrade at Laguna, from system design, installation, to final tuning. “The system was turned on and off, and then on, it was just the difference between wanting to sing and not wanting to sing.”ĭave Lawler of Docktrdave Audio Inc. “It was my first Constellation listening experience and it was a shocking difference,” said Cohen. Subsequently, a successful VRAS demonstration proved the systems worth to Cohen. ![]() ![]() The report concluded that the VRAS technology, which is at the heart of Constellation, would achieve a much wider range of reverberation and envelopment than the alternative options. The short nominal reverberation resulted in dry and lifeless choir and organ sound, and less than robust congregational singing. Preserving the aesthec integrity of the historic architecture was also a key requirement, and this essentially eliminated large modifications as an option.Īccording to acoustic measurements conducted by Jerry Christoff of Veneklasen Associates in spring 2005, Laguna had a nominal reverberation time of only 0.8 seconds at 500 Hertz. ![]() Laguna was committed to finding an audio solution that would fully support its praise band, sermons and readings, agape bells choir, and chorus. “We also have this Möller organ with 1,600 pipes and we weren’t really able to experience the full range of that because we had a very, very dead space.” “It was fine for spoken word but we had all sorts of music that just really wasn’t engaging our congregation because of the building’s acoustics.” “We were very unhappy with the sound,” says worship elder Lorna Cohen. An 82-year-old Spanish mission style building stands proud In the heart of Laguna Beach in Southern California, as the home of Laguna Presbyterian Church.Īfter a two-year renovation that included the installation of a Meyer Sound Constellation acoustic system, the sanctuary now provides an acoustic environment that fully supports its diverse worship program.
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