Rentals

Worship services moving to the great outdoors?

Social distancing recommendations, phased reopening plans, and the advent of nicer weather are all factors leading houses of worship to actively consider moving their services outdoors. Interest ranges from curiosity to uncertainly about how get started to full-fledged plans.

TC Furlong has been supporting outdoor services (and outdoor events in general) for much of its 47 year history. We are here now to support your planning as your organization weighs the costs, challenges, and options to move outdoors. Whether you envision a short-term rental system, a purchase, or just need some additional equipment to move your existing assets outdoors, we have the resources to assist you in getting exactly what you need.

On the rental side, TC Furlong has created a variety of affordable, portable, scalable, great sounding, and easy-to-use sound system packages that can meet the technical demands of any service and any size congregation. We can supply everything you need from the mics to the loudspeakers and everything in between including weather protection and storage solutions between services. Our packages are based on building blocks of loudspeaker coverage areas and can be supplemented with any accessory equipment you need including wireless mic systems, worship band support, or any other audio/video equipment and services your team requires.

In addition to the hardware–we are standing by to assist your team with support services including consultation, design, site surveys, staff training, delivery, and our famous 24×7 support that provides peace of mind to your team when you need it most. Package and accessory pricing is flexible and formulated to fit most any budget and provides deep discounts for multi-week use.

If you are considering moving your services to the great outdoors but need help in the planning and execution, contact a Project Manager at TC Furlong today at projects@tcfurlong.com or 888-823-8756.

Comparing Lav vs Headworn and Omni vs Directional Mics

At TC Furlong Inc., we handle a significant number of wireless microphone system quotes for rental and purchase. Along with each of these, we typically walk customers through the myriad of choices including price points, sensitivity, attachment options, brands, antennas, etc.

Two of the biggest questions for customers when assembling a bodypack worn wireless system is “Lavalier or Headset” followed by “Omnidirectional or Directional.” Most of the time, the decision is not cut and dry, and each has their special application. Below is an explanation of how we typically work through the process, but first, here are some definitions:

Definitions

Lavalier Mics

Also known as “Lavs.” These are small (miniature) mics that often clip to a lapel, tie, or other piece of clothing. The goal with these is to be small and discreet. They commonly come in two colors, black and beige. The Black is often used for clipping to clothing and the beige is often used in theatrical settings. Because they are small, they can also be attached to an actor’s wigs or within scenery for certain theatrical applications.

Headworn Mics

These mics, also known as headset or earset mics, have similar capsules to lavaliers but are attached to a boom and are designed to be worn around the head. This form factor allows the capsules to be positioned as close to the users mouth as possible. The typically come with single-ear or dual-ear attachments and are available in a palette of colors to approximate skin tones.

Omnidirectional

This mic will pick up audio sources (ie. the presenter) from all directions. They have little to no “handling noise” (the incidental sounds of a mic cable brushing up against the presenter). They also have the most “natural” sound. That is, they reproduce the sound the most accurately, are not susceptible to wind noise, and are not as sensitive to positioning. On the downside, they are more prone to feedback and can easily pick up unwanted or environmental noise.

Directional

This mic will pick up audio sources only in one direction. These come in several forms, but most often they have the pickup pattern of “cardioid” or “hyper-cardioid”. While these mics are great for rejecting unwanted environmental sound (ie. crowd noise), they are more vulnerable to handling noise and wind (including the popping sounds of P’s or even breath sounds). They must be positioned carefully and are sensitive to changes in position of the mic relative to the source.

Which mic is best for you?

Lav vs. Headworn

Our typical recommendation for live sound applications is a headworn microphone. It has the ability to be placed close to the mouth in a static position and allows users to achieve the most consistent sound of a presenter. The headworn does require more adjustments to position correctly, but once it is placed, the consistency you achieve will be worth it. This is not only great for seasoned veterans in the industry but also for church volunteers.

Often the amount of physical activity of the presenter will direct your decision for a dual-ear or single-ear attachment. A dual-ear, headset model tends to stay in place better while the presenter walks (or dances) around a stage. With the single-ear, earset version, you will find most people will use a small piece of medical tape to help secure it.

If the presenter isn’t comfortable with a headset or prefers that the mic be more discreet, the lav might be the better option. Placement with these can be just as challenging to get right and often it boils down to the particular clothing the presenter is wearing. For instance, some low-cut dresses can be challenging to find a functional placement.

One of the plus sides to the lav is the ease and quickness that you can place it. If you have multiple presenters but only one lav, the changeover can be much quicker than a headset. The downside of a lavalier placed on a presenter’s chest is that audio levels will vary as the user moves their head.

In the end, it does come down to a compromise between aesthetics and engineering, so when making the decision, it is worth weighing the preferences of the presenter with the technical requirements of the production.

Omni vs. Directional

After you have made the decision on a lav or headworn style mic, you will need to decide whether to use an Omni or Directional capsule. Sometimes people make the mistake of thinking directional is always better, but this is not always true.

A good place to start when deciding is to know if there will be any sound reinforcement. If the application is a webcast, video recording, or broadcast, an omni would likely be a great choice. In these cases, there is no fear of feedback or rejection of other sources near the presenter, and the omni capsule will provide an open and natural sound.

Directional mics are best used when you have a ‘less than ideal’ situation and work well in on-stage applications. For instance, directional mics work better for a church or venue with a thrust stage that puts the presenter in front of the PA, or in a very reverberant space with a lot of ambient noise. It is important to keep in mind that placement of a cardioid element is vital and to pay careful attention to which direction the microphone is picking up the audio.

Conclusion

Choosing the right microphone is important to the success of your event. There are hundreds of variations and brands on the market and in our inventory, and these are just some of the factors to consider when making a decision. Our team is happy to discuss in more detail on a case by case basis to help guide you through your rental or purchase decisions.

For questions about the many lavalier and headworn microphone options in our rental stock, contact the rental team at 847-367-9588 or email at rentals@tcfurlong.com.

For questions about purchasing a microphone or wireless system, contact the sales team at 847-367-9588 or email at sales@tcfurlong.com.

 

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While live events across the world are currently on hold, now is a fantastic time for everyone in our industry to learn new gear, develop new skills, and perhaps finish personal projects that you haven’t had time for until now. Maybe you want to record that podcast you’ve been thinking about for years, or finish laying down those demo tracks from your freshman year of college. 

Many people consider TC Furlong Inc. as only a live sound company, but we also have a deep inventory of recording equipment, including everything from classic mics and analog gear to the latest in state-of-the-art recording interfaces. Although you might only need an SM58 and a basic USB interface to start a podcast, here is a sampling of some of the more interesting gear in our inventory that can help enhance your project:

Microphones

  • Shure SM7B – This classic mic shines on all kinds of vocals but can also be used to close-mic a guitar or bass cabinet with equally impressive results.
  • Electro-Voice RE20 – The RE20 is a legendary mic most often associated with broadcast applications. The mic’s “Variable-D” design virtually eliminates proximity effect.
  • Sennheiser MD421 – One of Sennheiser’s most popular microphones, the MD421 shines on drums and guitar amps.
  • AKG C414-ULS – The C414 is a classic “do-everything” condenser mic. With nine different polar patterns, three different bass-cut filters, and three attenuation settings to choose from, it’s hard to find an application in which the C414 will let you down.
  • Neumann U89i – The Neumann name carries a lot of weight, and the U89 is an excellent entry in their storied product line. Fantastic for vocals and acoustic instruments.

See the full list of wired microphones here.

 Mic Preamps

  • Avalon VT-737SP – This preamp has all the bells and whistles of classic analog studio gear in a modern package: a tube preamp, opto-compressor, sweep equalizer, output level and VU metering all in a compact 2U unit.
  • Drawmer 1960A dual-channel mic pre and vacuum tube compressor help smooth out those level spikes before reaching your DAW.
  • Midas XL42 – Two channels of Midas’ famed XL4 preamp and EQ circuitry built into a single rack unit.

 See the full list of microphone preamps here.

 Outboard Equipment Processing

  • Summit Audio DCL-200 – Dual-channel compressor that uses a hybrid circuit design incorporating tubes with 990 op-amps providing smooth, but clean compression. The “Link” feature works great for gluing together a stereo mix.
  • dbx 160X – This single-channel, VCA-style compressor has been an industry standard since its initial release in 1976. It works great on vocals, bass, guitar, kick drum… and pretty much everything.
  • Lexicon PCM 42 and PCM 60 – These classic Digital Delay and Reverb units can help you dial in that classic 80’s plate reverb or slap-echo.
  • Bricasti M7With over 200 unique presets, the M7 uses revolutionary new reverb algorithms and the latest in DSP processing to create highly musical sounds.

 See the full list of signal processing equipment here.

Digital Interfaces

  • Rupert Neve Designs RMP-D8 – Eight channels of Rupert Neve preamps in two rack spaces, this unit has mastering grade 24-bit 192kHz converters and full Dante integration.
  • Focusrite Scarlett 18i20 – This interface has 8 mic/line inputs, ADAT and SPDIF connections, 10 line outputs, and 2 independent headphone mixes. USB connections allow for quick and easy connection to Mac or PC.
  • Solid State Logic SSL2 – Just released this year, the SSL2 features two channels of SSL preamps with an optional “4K Legacy mode.” This small interface is great for home overdubs or low-profile on-site recordings.

 See the full list of digital interfaces here.

What we’ve listed above is just a small sampling of the equipment available in our rental stock. If you have any questions about the gear in our stock or would like to set up a rental, give our Rental Team a call at 847-367-9588 or send an email to rentals@tcfurlong.com.

We are also authorized resellers for all the equipment manufacturers in our rental inventory. If you’re interested in purchasing equipment for home recording, get in touch with our Sales Team at 847-367-9588, or sales@tcfurlong.com.

 

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Alignment and design (A&D) should be the foundation on which every loudspeaker system is built, regardless of whether the system is large or small, temporary or a permanent installation. At TC Furlong Inc, our long-time core operating principal “Better Audio by Design” has a corollary: “Better Audio through Alignment”.

Loudspeaker system alignment complements and optimizes the performance of the loudspeaker system much like the balancing of tires and a front-end alignment optimize the benefit of the installation of new tires on your car.  It also maintains a smooth quiet ride and increased gas mileage.

Loudspeaker system design and alignment requires a blend of skilled craft, art, and science.  It demands practical experience, theoretical underpinnings, acute hearing, and prudent use of technology such as coverage prediction and measurements tools.

Our design and alignment team has almost 50 years of combined experience and are on duty and ready to tackle “back burner” projects that keep getting overpowered by a busy schedule. The range of projects we engage in include:

  • Providing a second opinion on an existing design
  • Ground up designs for new or renovated spaces
  • Formulating budgets for future projects
  • Tackling problems in existing rooms
  • Optimizing spaces in existing spaces for when things get back to normal

Email us today at align-design@tcfurlong.com with questions or to schedule a free phone consultation.

The newest addition to TC Furlong Inc’s considerable loudspeaker inventory is the Meyer Sound ULTRA-X series of compact point-source boxes.

The successor to Meyer’s legendary UPA-1P, the ULTRA-X40 brings the design philosophy of Meyer’s LEO line array family to the form factor of a trapezoidal point source loudspeaker. The X40 and X42 include two 8-inch cone drivers, a 3-inch high frequency compression driver, and a rotatable waveguide. The ULTRA-X40 delivers a coverage pattern of 110° x 50°, while the ULTRA-X42 offers a 70° x 50° pattern for applications requiring a narrower coverage zone.

One of the most noticeable differences between the ULTRA-X series and the UPA is apparent before you run any signal through the speaker; the ULTRA-X40 is 20 pounds lighter than the UPA-1P, weighing in at a little less than 55 pounds. The lighter weight, combined with the integral pole cup and handle, makes this an ideal choice for portable “speakers on sticks” setups. Meyer’s 750-LFC low frequency control element makes for a perfect companion to the ULTRA-X series when portability, power, and exceptional clarity are all required.

The ULTRA-X series is on the cutting edge of point source loudspeaker design. If you’re interested in hearing the difference on your next show, contact our Rental Team at 847-367-9588 or rentals@tcfurlong.com

TC Furlong Inc. is also a longstanding dealer for Meyer Sound, and all other major professional audio manufacturers. To request a purchase quote, get in touch with our sales team at 847-367-9588 or sales@tcfurlong.com