UK - The White Rock Theatre on the Hastings seafront is a historically significant cultural landmark in East Sussex, with origins dating back to 1927. As one of the region’s largest receiving houses, the theatre accommodates 1,066 seated and nearly 1,700 standing.
Marquee AV recently installed an EM Acoustics EMS Series point source system to bring the audio up to the standards demanded by modern audiences.
Adam Harkin, the venue’s technical and building manager says: “Sound is everything - without sound, there’s no show. Our new EM Acoustics system stands head and shoulders over what we had before which was old and no longer fit for purpose by modern standards. What we have now is simply amazing - it’s a proper theatre system and has made a huge difference - everyone can hear everything regardless of where they are sat in the venue.”
When the decision was made to change the existing sound system, the job was put out to tender. Two bids from high profile manufacturers were retained along with the bid from Marquee AV with EM Acoustics. “Marquee AV turned up with two speakers on sticks for the demo, and it filled the auditorium. We thought, ‘Wow! If that’s what they can do with two speakers, what will a full system be like!’ And so that’s why we went with EM Acoustics - it was just better than anything else we heard.”
The final system comprises a cluster of three EMS-122s flown per side and two for the centre, two EMS-215 subs per side and a circle delay system of five EMS-121s. “The venue is extremely wide and shallow
USA - The Brooklyn Tabernacle, designed in 1918 by Thomas Lamb, the architect of the original Madison Square Garden across the East River in Manhattan, flourished for years as the Lowe’s Metropolitan, one of the leading vaudeville theatres of its day.
Today, after being rescued from disrepair by the church, the building resonates with the uplifting energy of Pastor Jim Cymbala’s Sunday services, special events throughout the week, and performances by the six-time Grammy winning Brooklyn Tabernacle Choir, which is directed by the pastor’s wife, Carol. Supporting these activities are immersive lighting and video displays that would have been impossible to imagine back in the building’s vaudeville theatre days.
Running the lighting and video system is a ChamSys MagicQ MQ500 Stadium, installed in early 2019 by lighting designer Abner Torres of Out of Darkness Designs. Torres, who has done extensive work with gospel groups and clubs throughout the New York area, became involved with Brooklyn Tabernacle through his work lighting the Christian Hip-Hop Kingdom Choice Awards.
“I met Raynard James, the very talented audio engineer from Brooklyn Tabernacle, when I was working on the awards show,” says Torres. “This led to me being invited by the church to light a large-scale musical production, The Story of Love, for Easter. Talking to the tech team, we developed a plan for upgrading the church’s lighting system, beginning with their aging desk. It would have been virtually impossible to run the kind of Easter production they envisione
UK - The Liverpool Institute for Performing Arts (LIPA) has recently benefited from the implementation of a K-array Anakonda and Kobra loudspeaker system supplied by UK distributor 2B Heard.
Following a K-array demonstration and training day conducted by 2B Heard directors Dave Wooster and Sam Nankivell, the audio staff at LIPA were impressed with the range of solutions that the Italian loudspeaker brand offers, and decided to take the opportunity for third year live sound students to use K-array systems on a production of <IRomeo and Juliet in the 400-seat Paul McCartney Auditorium. Students were given a strict brief to minimise the visual impact of the sound system, while at the same time delivering clarity and consistency throughout the audience area at an SPL appropriate for the dance-based nature of the show.
“The sound system had to be as discreet as possible given the highly detailed nature of the set,” explains third-year sound technology student and production sound engineer for the show, John Doolan, “but still be able to produce excellent sound reinforcement for the audience. Only K-array could deliver on such a brief.”
Providing left and right stereo feeds for the stalls of the Paul McCartney Auditorium were a pair of Kobra KK102 passive line arrays, with a further two units running in mono. The one-metre high columns blended unobtrusively with the pillars of the building structure.
Complementing these and making up the mono front-fill speaker system were four Anakonda flexible array speakers, totally unnoticeable within
Australia - As a long-term user of DPA microphones, the Sydney Theatre Company (STC) has been quick to adopt the Danish manufacturer’s Core by DPA amplifier technology, which has now been successfully incorporated into DPA d:screet Miniature, d:fine headset and d:vote instrument microphones.
Already the owner of a substantial amount of DPA stock, STC recently added 75 d:screet CORE 4061 Miniature Omnidirectional Microphones to its inventory and is putting them to good use on a number of productions, including a new version of Tennessee Williams’ classic Cat On A Hot Tin Roof.
Ben Lightowlers, STC’s head of sound and audio visual, says: “Once the new Core technology arrived, I was keen to put it through the rigours of a regular season at STC. The goal for us in theatre is to not distract the audience with an obviously mic’d tonality but rather aim for a more naturalistic augmentation of the voice. The new Core mics boast a more open frequency response, which is appealing when balancing vocal performances of varying dynamics in circumstances where some cast members are potentially quieter than others on stage.”
STC’s new d:screet microphones were supplied by DPA dealer Soundcorp, in conjunction with the company’s Australian distributor Amber Technology. STC’s DPA inventory also includes d:dicate 4017 Shotgun Microphones, d:fine Headset Microphones, d:vote 4099 Instrument Microphones, d:facto Vocal Microphones and more legacy d:screet 4061 Miniature Microphones than Lightowlers can count.
“In the 13 years I have been w
UK - A Void Acoustics sound system has been installed in Mrs Fogg’s Maritime Club & Distillery. Located in the heart of London, Mrs Fogg’s is the sixth venue in the Mr Fogg’s collection, inspired by Aouda, Phileas Fogg’s Indian wife, in Jules Verne’s classic adventure novel, Around The World in 80 Days.
Styled as if aboard a Victorian steamer ship, guests enter the ground floor through the Maritime Club. Sound in this large bar and dining space is powered by six black Void Acoustics Air 8 passive, two-way, eight-inch surface mount loudspeakers and two Venu Bass low frequency enclosures.
The adjoining Rangoon Steamer room boasts luxurious chandeliers, plush dining seating and decorative curtained windows, all built to size to replicate the steamer Phileas and Aouda travelled on. Four white Cyclone 55 dual five-inch, passive, surface mount loudspeakers, together with a Venu Bass, are strategically positioned to create the perfect sound balance, while complementing the exquisite interior décor.
A staircase leads guests below deck, to an authentic bar and distillery. Here, an intimate stage is powered by two Venu X low frequency enclosures, two Air 8, and two black Air Motions. The spherical shape of the Air Motion horns gives a modern-day nod to the Victorian gramophone of Phileas Fogg’s era. Guy Ayres, projects director for Diamond AV explained that they would be well worth the investment to Charlie Gilkes and Duncan Stirling, Inception Group’s founders.
The adjacent Engine room and distillery is equipped with two black
UK - Promising a “modern day pub experience built on traditional values”, The East London Pub Company has brought fresh inspiration to two equally historic but radically different London venues, The Lock Tavern in Camden and The Gun in Spitalfields.
Famous as the home of early gigs by the likes of Adele, Amy Winehouse and Franz Ferdinand amongst others, The Lock Tavern is counted among the British capital’s best loved grassroots music venues. Meanwhile, sitting in the heart of the East End market district of Spitalfields, The Gun is a local institution that first opened its doors in 1929. Both venues are now enjoying a renaissance courtesy of London-based sound installation specialist Flipside, and sound reinforcement systems by TW AUDiO.
“The Lock Tavern is a great venue - one of my favourites out of the whole group,” says East London Pub Co. co-founder, Bradley Lomas. “It’s a venue with such rich heritage and history and of course it’s been very big on the music scene. In projects like this the quality of the sound system can often be overlooked but we wanted to create a space that would be great for up and coming artists and bands - for people to be able to use that space better and to enjoy having a really high-quality sound system.”
Working closely with TW AUDiO UK, Flipside delivered on all expectations. “We dedicate ourselves to working in small to medium sized installs,” explains co-founder James Cooper. “Our focus is on providing excellent service to a customer base which is not necessarily looked after so well by th
USA - The Pablo Centre at the Confluence is a fine arts centre with grand aspirations. Situated at the confluence of the Chippewa and Eau Claire Rivers in Eau Claire, Wisconsin, the 143,000sq.ft space includes a 1,200-seat proscenium theatre, the 400-seat JAMF black-box theatre, five flexible rehearsal rooms & galleries, and a light, sound, and video production lab, among many other rooms.
One publication described The Pablo Centre at the Confluence as the centre of gravity for a growing orbit of arts and cultural institutions in the northwestern Wisconsin city of 65,000 residents and home to the University of Wisconsin – Eau Claire. AV integration firm Camera Corner Connecting Point (CCCP) of Green Bay, Wisconsin assisted in the design and installation of the centre’s audio and video systems, which include over sixty Danley Sound Labs loudspeakers and subwoofers powered by Danley’s multi-channel DNA amplifier/DSPs.
The Pablo Center hired Threshold Acoustics, of Chicago, Illinois, to handle the acoustic and sound system design for the two larger spaces in the building - the proscenium theatre and the JAMF black box theatre. They hired CCCP to design AV systems for all the other rooms in the building, as well as the video systems. “The practice spaces didn’t have any particular loudspeaker manufacturer specified, but when they asked us to run the numbers on filling them with products from the proscenium theatre’s loudspeaker manufacturer, it was way over budget,” says Scott Tomashek, director of AV design and engineering for CCCP.
USA - A long time ago in a galaxy far, far away . . . or, to be more accurate, rather recently in Denver, the Colorado Symphony performed Oscar-winning composer John Williams’ full score for Star Wars: The Empire Strikes Back while accompanying the film’s screening at the 1STBANK Centre in Broomfield.
What elevated this cinematic performance from other popular orchestra/movie pairings - including the Colorado Symphony’s own accompaniment of Star Wars: A New Hope last year - was Clearwing Productions’ deployment of L-ISA Hyperreal Sound technology, which delivered a different experience for those in attendance.
Clearwing is no stranger to L-ISA, having been the first North American company to utilise the system, initially for an outdoor Santa Barbara Bowl show with ODESZA, then later at the same venue with Bon Iver. However, this event marked the first time that the production company had deployed this technology for an orchestral event, and it came at the specific request of the Colorado Symphony.
Aric Christensen, who has served as the symphony’s head of audio for the past decade and a half, first heard L-ISA for himself when Lorde’s Melodrama tour stopped at the Pepsi Centre last year. “That was obviously a pop show, but I quickly saw how an orchestra could benefit in terms of being able to accurately represent a massive number of instruments across something much wider than just a traditional left-right format,” he says.
L-Acoustics invited Christensen to the L-ISA studio in Westlake Village, where the FOH engi
Belgium - The Cathedral of St Michael and St Gudula is one of the oldest and most beautiful cathedrals in Belgium.
It originated as a chapel to honour St. Michael and was built on the Treurenberg hill in the ninth century. In the 11th century, it was replaced by a Romanesque church and in the 13th century, they added two round towers to the church.
In total it took about 300 years to complete the entire church and it was finished in 1519 just before the reign of the emperor Charles V. Since 1962, the church is given the status of cathedral. The towers are each 64m high and the Cathedral is built of stone from the Gobertange quarry, which is located 45km southeast of the city.
Because of the versatile character of the church there was a need for a complete, new audio system that can be used during these different types of events.
It was important that there was a clear sound reproduction in this acoustic difficult architectural form of the cathedral and that the audio speakers would blend in perfectly in the ancient cultural heritage.
With all these factors in mind the installer decided to use 60 Audac AXIR design column speakers each one metre long. They are especially designed for optimal speech and sound reproduction in open areas with high ceilings. This is necessary for the comprehensibility of the priest during the mass service. They also installed 10 KYDO column speakers in support for the remaining spaces.
The complete installation is powered by just one SMQ750 quad-channel power amplifier with WaveDynamics technology.
Australia - The Pavilion, a multifunctional event space right in the heart of the Arts Centre Melbourne, offers panoramic views of the leafy green surrounding Arts Precinct nestling between the Yarra River and the Royal Botanical Gardens.
It’s a vibrant hub for a diversity of cultural and creative activities, accommodating anything from around 280 - 300 people for dinner, 450 for a concert set up and 500+ for a cocktails or standing event.
A new lighting rig of Robe VIVA CMY Spots, ParFect 150s and LEDWash 300s, six of each, has recently been installed which has dramatically changed the way in which the space can be used for many events.
Arts Centre Melbourne’s technical manager for corporate events Jason Fordham explained that, in addition to the pre-existing generic rig, the new lights have expanded the capacity to stage multiple daily events in the Pavilion, a busy space which is utilised for anything from conferences, talks and debates to presentations, gala dinners and awards ceremonies - during daytime and evenings.
“The Robes have really enabled us to maximise the space properly and increase its utilisation by 60 percent or more,” confirms Jason, explaining that it’s now “quicker and infinitely more practical” to morph the room from a daytime conference into an evening dinner - often with live entertainment - with the finished result also looking vastly better aesthetically.
They have frequently heard audible gasps of amazement from conference delegates when they re-enter the Pavilion reset to a dinner state follow
USA - Since 1975, the Houston Chinese Church has established a voice within Houston’s vibrant Southwest District, offering weekly worship services in English, Mandarin and Cantonese.
As the church grew, serving more worshippers in its diverse community, its leaders realised they needed a more flexible lighting system that would allow them to create a more modern, welcoming environment inside their sanctuary. Vincent Ng, CEO of Ving Media LLC, was called in to improve the lighting system and make it more flexible to meet the church’s growing needs.
“The church wanted to upgrade their lighting system for good reason,” says Ng. “The fixtures they were using were over 30 years old, and all the coloured lights were already dead. They decided a switch to new LEDs would not only illuminate worship better, but be more eco-friendly by consuming less power.”
Working in partnership with 3rd Coast A/V for the rigging and as the lighting designer, Ng chose 28 Chauvet Professional Ovation E-260WW and 20 Ovation E-910FC ellipsoidals for the church’s lighting rig.
“The lighting truss in the main sanctuary is about 32’ from the floor and roughly 30’ from the stage, which makes the throw distance we needed to cover 40’ to 50’, depending on what we were lighting. We wanted fixtures that were bright enough to meet this requirement, yet still within budget,” explains Ng. “Both the Ovation 260WW and 910FC fixtures have the best price per lumens on the market. They are also virtually silent, and the controls are very intuitive with a sm
UK - Middlesex University is among the latest educational establishments to invest in an Allen & Heath dLive digital mixing system, recently installing an S3000 surface in the TV production facilities at its Faculty of Arts and Creative Industries in Hendon, north London.
The university’s Sony-designed facilities were created to give students as close to a real-world learning and working environment as possible. Boasting a double-height main studio and separate main, VT and sound galleries, they are equipped to a standard comparable to commercial studios and see a diverse range of programme creation - including a significant amount of live music production - throughout the academic year.
“When we were looking to replace our existing audio desk, I was considering very ‘broadcast-specific’ options,” Aidan Delaney (technical manager at the faculty) explains. “However, we do such a variety of things here that dLive simply made much more sense. It’s a real chameleon and we can use it for whatever we need, no matter the scenario. It’s incredibly flexible and easy to use - plus the feature-rich specs, including the excellent onboard dynamics, really made it the obvious choice in the end.”
Supplied by Moonlite Productions, the complete dLive system comprises an S3000 (fitted with Dante 64x64 card for multitrack recording of live music sessions) paired with a DM48 MixRack and two additional DX168 AudioRacks.
Delaney adds, “Although it’s a very powerful system, it’s really not difficult to get complete novices up and runnin
Mexico - Auditorio Citibanamex is a live music venue located in Monterrey that has emerged as one of the country’s top concert venues since undergoing an extensive renovation and redesign several years ago. Located in the heart of Monterrey’s Fundidora Park, the venue has a capacity of 8,000 and attracts both national and international artists.
Despite the renovation, the venue stood somewhat unobtrusive in a brush of static white light until last summer when it received a radiant outdoor wash of colour courtesy of company Adimsa, Elation’s long-time partner in Mexico and one of the country’s leading lighting providers.
Adimsa installed weatherproof Elation Professional SixPar and SixBar series luminaires across the outside of the building, high-power, single-lens Pars and battens with RGBWA+UV LED chips that provide an exceptionally broad palette of colours. Some 180 SixPar 300 IP and 24 SixPar 100 IP LED Par lights along with 12 SixBar 1000 IP LED battens were installed at multiple points around the site. Lighting design was by Edson Rivera of Adimsa with lighting programming by Victor Rivera.
All projects of this size have their challenges but nothing that Adimsa could not overcome. The first challenge, according to Rivera, was delivery time. Supply and installation had to happen in a short four-week period, which was a demanding requirement for an installation of this magnitude. Then during the installation itself, it rained for two weeks, which made work more difficult for the installation team but didn’t hamper the IP65-rated lumin
Belgium - Lighting and visual design practice Painting with Light (PWL) was commissioned by interactive media and attractions specialist Alterface to light the new Popcorn Revenge dark ride at the Walibi Belgium theme park.
This showcases Alterface’s new innovative ‘erratic ride’ concept, an environment combining multiple projection techniques, spectacular HD video, 3D mapping and 3D shooting plus special effects in a ride that follows a non-linear path. Wireless-controlled ride cars are routed ‘randomly’ through a selection of different rooms over their three-minute journey, allowing guests to return to Popcorn Revenge multiple times and receive a completely different and equally exciting visual and sensory experience each time.
Luc Peumans and the PWL team including principal designer Iiris Roskou and project managers Peter Vandenbosh and Céline Cuypers collaborated with Alterface, theme park show and ride creators Jora Vision and engineers ETF to produce this hi-energy phenomenon in Walibi which is owned and operated by French entertainment group, Compagnie des Alpes.
PWL designed, purchased, installed and delivered the complete lighting package for this ride, in the process illustrating the diverse skill sets and experiences offered by its experts working on both entertainment and architectural lighting projects.
This brought a dynamic ‘crossover’ theatrical-environmental approach to lighting the different ride areas and adding to the atmosphere, fun and animated buzz.
The core action in each of the ride theatre spac
UK - Stage Electrics has supplied the Lyric Theatre in Carmarthen, Wales, with a lighting control upgrade alongside additional staging.
The theatre, part of the Carmarthen Theatres Group, was seeking a lighting control solution that offered professional grade programming power, along with the ability to integrate into other systems, making transitioning between desks simple.
“ETC’s Ion Xe was the obvious choice for the Lyric Theatre,” comments Neal Tomlinson, technical sales consultant at Stage Electrics. “We sought out a solution that offered flexibility, whilst being able to work coherently with the grade of fixtures coming through the venue. This theatre hosts a number of touring shows, so compatibility was a must.”
Looking to further expand their offerings to touring shows, in terms of space, the theatre has invested in a Prolyte LiteDeck staging system, so the theatre can now offer extended stage and catwalk solutions for shows using the venue.
Carmarthen Theatres Group is a part of Carmarthenshire County Council’s leisure department and they manage three performing arts venues within the county, with an aim to make participation in the arts available to all.
USA - After outgrowing its long-time location in Tustin, California, Calvary Chapel Tustin (CCT) moved to nearby Santa Ana in 2015 leasing the main sanctuary from the First Church of the Nazarene. The two churches co-exist on the property with CCT occupying the 700-seat main sanctuary and First Nazarene holding services in the recently remodelled chapel.
Based on the success of BESA-Bowls Engineering Sound & Acoustics’ recent sound system upgrades at Wildwood Calvary Chapel in Yucaipa, California, CCT contracted the design-build firm in early 2018 to facilitate much needed audio upgrades. BESA founder and senior sound designer, Darren Bowls, worked through a sound design that addressed the extremely high ceilings, split-block wall surfaces, and the voluminous nature of the room. Bowls felt CCT would benefit from a similar equipment combination he first implemented at Wildwood: Fulcrum Acoustic loudspeakers powered by high-output, audiophile-quality amplifiers from UK-based company, Linea Research.
“We typically don’t use mid-grade equipment as part of our designs,” says Bowls. “By the time we get the call from the client they are generally pretty frustrated with the level of performance of their existing sound system and are looking for final solutions. We only deal with the best equipment available from a handful of manufacturers.”
While Bowls felt that the Fulcrum Acoustic loudspeakers were delivering impeccable fidelity, he felt the amplifiers he was using were leaving something on the table. He’d recently discovered Linea Rese
USA - Sprint Centre, a flexible arena in downtown Kansas City, has recently reached out to local integrator Digital Sound Systems, Inc. (DSS) to explore options for updating its arena sound system used for sporting events.
DSS was tasked with updating portions of the arena’s control room, as well as audio and video facilities. After thorough research and consideration, DSS was able to provide Sprint Centre with an entirely new front-line sound system, including new speakers, subs and amplifiers, thanks to the powerful and cost-effective solutions provided by L-Acoustics Kara(i) loudspeakers, SB18i subwoofers, and LA4X amplified controllers.
“Sprint Centre consistently ranks as one of the top venues in the US, so it was important for us to make sure that we were advising them on the best plan of action for years to come,” says DSS CEO Jeremy Dixon. “A simple amplifier upgrade would not have been sufficient. This hometown venue is one of Kansas City’s crowning jewels, and we wanted to make sure that it continues to shine bright. That’s why we reached out to L-Acoustics to see how we could best provide them with a truly world-class sound system.”
Working with L-Acoustics engineers using Soundvision 3D acoustical modeling software, DSS designers and integrators were able to create a completely new PA system for the arena.
The new system is made up of eight Kara(i) arrays - four hangs of 11 Kara(i) loudspeakers covering the long sides of the court and four more hangs of nine Kara(i) for the far ends of the court. Each array is backed
France - As part of the Viparis group of event sites, the Paris Expo Porte de Versailles exhibition park is the largest in France and hosts over 120 tradeshows, including some of the French capital’s most prestigious occasions such as the Paris Motor Show, the Foire de Paris, the International Agriculture Show, Viva Technology and Who’s Next.
With such a diverse, high-profile array of exhibitions to cater for, the venue’s sound system needed to be of an equally high standard. When the venue’s largest pavilion - the 7,000sq.m Hall 1 - required an audio upgrade, APG’s Uniline Compact was chosen as the key component.
The audio system in the venue was specified as a result of an electro-acoustic study undertaken by LM Ingénierie Audiovisuel (LMI AV), while the equipment itself was supplied and integrated by Belgian company Inytium.
Partner and project manager for LM Ingénierie Audiovisuel, Tristan Hoël-Bâcle, lent his audio expertise to the system design for Hall 1, in collaboration with project manager Charlotte Brassart.
Hoël-Bâcle says: “Our diagnostic work began with an audit of the existing set-up in Hall 1, which consisted of an acoustic (noise and reverberation time) and electroacoustic (sound pressure level and intelligibility) measurement process.
“Following this diagnosis, we created a calibrated digital acoustic model, allowing us to propose what we deemed to be the best possible solutions. This modelling approach allowed us to differentiate ourselves and explore both the technical and financial requirements o
Japan - It’s impossible to walk through the prefecture of Gion and not be swept up in its vibrant pace of life. The most celebrated geisha district in a city that is itself the cultural heart of Japan, the neighbourhood is renowned for its dining and entertainment attractions.
Both of these offerings are found in the Kyoto Sushi Theatre, a lively venue that serves up a culinary and artistic feast for its customers. Creating a colourful and engaging backdrop for this dual experience is an Andy Hinago-designed lightshow that features a collection of Chauvet Professional fixtures, supplied by PRG Japan.
Given that the ‘theatre side’ of Kyoto Sushi Theatre features not only traditional Kabuki, but also more modern, western-style Shingeki performances, Andy (who owns GOTTA, Inc.) placed an emphasis on versatility when putting together his rig for the venue. This led him to place the Maverick MK Pyxis at the top of his gear list.
“Typically, I start building my rig by selecting washes, but when I saw the Pyxis, I knew I had to have it,” says Hinago, who installed 15 of the moving fixtures at the theatre. “Pyxis was first because of all I could do with it. The outer ring of pixels and centre pixel offer so many options. Plus, it has continuous pan and tilt, built-in colour macros, gobos with vibrant, punchy colours, so it opens a lot of options.”
In addition to its Pyxis units, the theatre rig features three Rogue R1 FX-B fixtures. “The Rogue R1 FX-Bs are very flexible and work well with the Pyxis, allowing me to create a wide variet
UK - Islington’s Grade II-listed Assembly Hall has committed to an investment in its technical infrastructure, including the first UK installation of Harman’s new JBL VTX A8 line array system at front of house.
Inspired by the experienced management team of Lucinda Brown and technical manager Tom Watt, the council-owned building, part of Islington Town Hall complex, can now build on a reputation that has seen Ed Sheeran, Rag’n’Bone Man and Snow Patrol play there in the past.
Following a competitive tender, the Islington Assembly Hall team chose JBL’s new flagship VTX A-Series, comprising A8 and B18 elements.
The installation was undertaken by SSE Audio Group, who were also responsible for the new JBL VTX A12 installation (with VTX A8 acting as delays and front-fills) at London’s Troxy - coincidentally another Grade II-listed art deco building like the Assembly Hall. Able to use the existing infrastructure, and taking advantage of the advanced JBL rigging, they were able to hoist and align the system expediently, much to the delight of the venue.
“SSE worked hard to get the system in quickly working around events, and expedited the delivery seamlessly in the time allotted,” says Watt.
They have flown L/R hangs of six VTX A8 elements per side, adding a further two as lip-fills on the stage. Low frequency extension is provided by six B18 single 18” subs, with the entire system powered by four Crown I-Tech 4x3500HD four-channel amplifiers.
Ed Jackson, Harman pro tour sound application engineer, ensured the system was
UK - McQueen in Shoreditch has been a feature of London’s club landscape for 10 years. Themed after the late American star Steve McQueen, the multiple award-winning venue has an overall capacity of 650, divided between two principal spaces and a 55-cover restaurant. Its strong reputation has been built on its ability to stage and attract high profile events, feature top DJs and deliver excellent hospitality.
Shoreditch continues to grow as one of the capital’s leisure industry hubs and entrepreneur Dezzi McCausland, head of design and concepts at McQueen, is aware of the need to take a progressive view in an evolving and highly competitive market. Recognising a trend towards increasingly multi-functional venues, McCausland took the decision to use the occasion of the club’s 10th anniversary to re-launch McQueen - updated, upgraded and able to deliver a wider spectrum of entertainment.
The core values of popular club nights and excellent hospitality would remain in place, supplemented by more live music, a modern American pool lounge and casino tables. Essential to the design was audio provision that could deliver all the power and quality required in a club setting, as well as possess the versatility to address the needs of the venue’s multi-functional spaces. McQueen chose Pioneer Pro Audio’s XY Series speakers.
Dezzi McCausland was seeking audiophile quality throughout and having experimented with other brands, had yet to find what he was looking for. His team was aware of Pioneer Pro Audio’s growing reputation and decided to make cont
UK - When Elliot Patterson from Evolve Install embarked on his third fit-out for the Kricket restaurant chain at the BBC Television Centre in White City, he worked in a new building with an industrial theme. This gave him the opportunity to suspend a series of down facing JBL pendant loudspeakers in the three open-plan zones and direct the sound away from the offices upstairs.
Owned by Will Bowlby and Rik Campbell, Kricket Television Centre is also the group’s largest restaurant to date, offering 100 covers inside and 40 outside. It features an open kitchen, booth and banquet seating, and a garden terrace with views of the studios.
Like the other two venues (in Soho and Brixton), Patterson turned to the Harman Pro audio catalogue for his solutions, sourcing the materials from their UK and Ireland distributors Sound Technology.
“It’s always nice to be involved with a new building as there’s more freedom with what you can do with the speakers,” he says. “The building was just a wide open space when we first saw it, but theme is very industrial, with overhead ducting and cable trays.”
The installer knew instinctively that the JBL Control 67P/T would provide the right solution, incorporating a large enclosure and high-power 6.5” transducer for extended bass response, and 120° dispersion for even coverage pattern. “These speakers have a nice LF response and so deliver a really warm sound without the need for additional subs. Fed by the right music you get the benefits of the full frequency range.”
The three-zone venue i
UK - London’s Royal Albert Hall has completed the biggest improvement to sound in its auditorium since the installation of the acoustic ‘mushrooms’ 50 years ago (as reported in LSi April 2019).
The project took 693 days of labour, 15,291m of cable, and 465 individual speakers in the world’s largest loudspeaker install in a single room.
With equipment supplied by Autograph Sales and installed by SFL, the digital distribution network adopted a ring topology and the selection of multi-format I/O cards included analogue, AES, ANA, DMI Optocore and DMI Dante.
Within this, a pair of BroaMan Route66 Optocore AutoRouters, managing Optocore links from the DiGiCo desk environment, have been specified as central routers in a redundant starred network - this is to cater for the large number of patch panels distributed around the venue to the d&b audiotechnik loudspeakers.
Compatible with Optocore and DiGiCo fibre loops, the added functionality of the AutoRouter on the Route 66 makes it suitable for large installations such as this where there are multiple connection points.
As a Grade I listed building, the intricate new sound system proposal required special building consent and had to work within the fabric of the famous Victorian venue.
The project drew on the most detailed acoustic surveys and modelling ever undertaken in t
Germany - The Schauspiel Hannover, part of the Niedersächsische Staatstheater Hannover, offers the audience theatre, entertainment and music in five different venues. In addition to the Schauspielhaus on Prinzenstraße near the main station, these are the Cumberlandsche Bühne, the Cumberlandsche Galerie as well as Ballhof Eins and Ballhof Zwei in the old town.
After the sound mixing desk had been renewed in the Schauspielhaus two years ago, the next logical step was the modernisation of the main and back-stage sound system.
The Schauspiel Hannover serves a wide range of performances and reinforces them as needed. “In general we are seeing an increasing demand for microports in theatre productions,” says sound engineer Markus Folberth. “The demands of the various productions as well as the guest events in the house are already described as very 'mature'.”
With regard to the modernisation of the sound system, the sound engineering department wanted first and foremost a homogeneous coverage of the entire auditorium as well as good speech intelligibility, because the previous point source solution had shown weaknesses in this case. “In addition, the old system audibly reached its limits in music productions and then quickly sounded fatiguing,” says Lutz Findeisen, head of the sound / video department at the Schauspiel Hannover. “The staff of the sound department wanted to find their musical sonic tool. We were looking for a real extension of the expressive possibilities of the sound reinforcement.”
After comparing different line