Quick summary:
- Integrator DC PRO wrapped L2D, Kiva II, KS21i and X Series around the sanctuary.
- The church now has one system for a choir-and-orchestra service and a worship band 90 minutes later.
- L-Acoustics provides full-surround, even coverage in a room that never had it.
Organized in 1962 with just nine members, Asbury Church has grown into one of Oklahoma’s largest congregations, drawing around 3,300 worshipers each week. Every Sunday requires managing two distinct, high-volume production demands: a traditional choir-and-orchestra service at 9:00 AM, followed immediately by an amplified worship band at 11:00 AM, alongside special combined events utilizing as many as 126 active console inputs. A new L-Acoustics L-ISA Immersive Hyperreal system helped make it all come together.
Delivering this experience asks a great deal of the church's sanctuary sound system. Over time, the venue’s original sound system reached the end of its operational life. The sanctuary suffered from uneven audio coverage, severe high-frequency dead spots, and power pockets caused by overlapping speaker arrays that forced the technical team to constantly compensate.
To overcome these acoustic limitations, Asbury partnered with AV systems integrator DC PRO in early 2025. After analyzing designs from multiple audio manufacturers, DC PRO specified an L-Acoustics L-ISA Immersive Hyperreal system. Unlike traditional stereo setups, this full 360-degree surround configuration utilizes multiple frontal and surround arrays, allowing audio engineers to position sound objects dynamically around the auditorium. This layout places the congregation inside a natural, spatial soundfield, making it seamless to transition between musical styles. Instead of retuning a standard left-right system during the brief 30-minute changeover between services, production staff simply recall a new spatial scene at the touch of a button.
The technical installation features a main frontal array of five L-Acoustics L2D enclosures forming the core L-ISA Scene, complemented by Kiva II and Kiva IIi side extensions for wider coverage. Low-frequency impact is supplied by 12 KS21i subwoofers flown behind the center array in a cardioid configuration, along with 12 low-profile SB10i subwoofers across the stage deck. Ten X8i speakers mounted along the stage lip handle spatialized front-fill, ensuring clear imaging for the front rows. Surround coverage is maintained by six coaxial X15 speakers along the upper side walls, 11 X8i units on the balcony face, and 15 compact X6i models on the rear wall. Additional X6i and X12 speakers provide delay coverage under and over the balcony, while LA7.16i and LA1.16i amplified controllers drive the system alongside an L-ISA Processor II.
This spatial infrastructure transforms the mixing workflow for Asbury’s production team. Rather than using aggressive equalization and compression to separate crowded instruments across a two-channel mix, engineers achieve clarity and balance purely by positioning instruments spatially within the room. The multi-array setup eliminates former acoustic dead zones, distributing energy evenly across all seating sections without creating harsh volume pockets.
“We have great balance in every seat across the entire room right now, which is just an unbelievable win for us,” Asbury production director Daniel Yarbrough concluded. “There is no compromise in the mix quality at every seat in the house.”
