USA - Christ Community Church technical director Michael Montanari has specified SSL L500 consoles for both front-of-house and monitor positions at its St Charles campus in Chicago. The consoles were purchased from SSL Live partner TC Furlong.
The 2000-capacity St Charles Campus auditorium has a regular Saturday afternoon service and two Sunday morning services, as well as a number of larger events throughout the year, including special worship nights and visiting touring acts. The Sunday services are streamed live over a dedicated fibre network live to the church's other three regional campuses. "We put a high value on production," says Montanari. "Concert-style audio, but probably not at quite as high an SPL!"
As most production crew and artists at the church are volunteers, the challenge for Montanari was finding technology that could deliver a big step up in quality, as well as being intuitive and flexible enough to accommodate a wide range of operators: "We want really high end audio, we want it to be able to handle everything that a professional audio guy can throw at a console, but it also has to be able to be run by a volunteer.
"With the SSL I think we've accomplished a good blend of those two things. We certainly don't sacrifice anything on the weekends when we have volunteers running it - they are up to speed and they love the console."
For monitors, which is almost always run by volunteers, Montanari cites a combination of the large number of fully processed busses available, the flexible routing architecture, the fast interrogation 'Q' (S
USA - Although it's been open for a mere four years in the northern suburbs of Atlanta, Georgia, The Velvet Note has attracted national attention. Its intimate room seats only 40 and was carefully designed by George Seldon to support music with stunning, well-balanced acoustics.
"We take a lot of pride in the sound of our room," said Tamara Fuller, The Velvet Note's owner and nightly head-of-ceremonies. "We call it 'the acoustic living room,' and we've done everything we can to make it the very best way to experience live music."
"Until recently, the only thing that wasn't five stars about The Velvet Note was the PA system," explained Bob Bakert, an Atlanta-based guitarist, vocalist, composer, and pro-audio veteran who regularly graces the venue's stage. "I had heard Danley Sound Labs systems before, and I knew Danley's fantastic phase-coherence and fidelity could elevate The Velvet Note's PA system to the level of everything else in the venue."
After consulting with Danley, owner Mike Hedden, Bakert helped install two Danley SM-100 loudspeakers in a stereo configuration with a THmini subwoofer for low-end support. The room is only about 20ft wide, so the stereo soundstage created by the SM-100s is more akin to a control room than a live venue.
The THmini subwoofer is tucked back behind the piano, and Bakert purposely configured the system so that the subwoofer would not provide unnaturally loud bass. Rather, the subwoofer forms a balanced, low-end extension to the full-range boxes. "I'm impressed that the THmini subwoofer is so musical all the way do
The Netherlands - The Koninklijke Schouwburg, or Royal Theatre, in The Hague has recently taken stock of a large number of Robert Juliat 614SX 1200W tungsten profile lanterns, supplied by Robert Juliat's project partner for the Netherlands, Controllux, in a major refreshment of its lighting inventory.
Built at the end of the eighteenth century as a palace for Prince Charles of Nassau-Weilburg, the beautiful building of the Koninklijke Schouwburg was transformed into a theatre in 1804 and is now one of the oldest theatres in The Netherlands. It hosts a programme of international theatre productions, musicals, cabaret and dance, in addition to a season from the award-winning Amsterdam Baroque Opera, and plays from its own national theatre company, Het Nationale Toneel.
Having undergone extensive refurbishment from 1997-1999 to modernize the venue, it was apparent that, 15 years later, the theatre's lighting was in need of updating.
"The team at Koninklijke Schouwburg wanted to replace its large stock of 750W HPL ellipsoidal fixtures with something brighter, and with a better projection quality," says Controllux's Kuno van Velzen.
Kuno Van Velzen is familiar with the theatre and its technicians, both from having worked there often, and in his position as sales manager at Controllux, which has a longstanding, trusted relationship with Koninklijke Schouwburg. His experience meant he had a good understanding of what fixtures were needed to fill the team's requirements.
"I recommended they try Robert Juliat's 600 Series 1200W condenser zoom profiles," he
UK - Sadler's Wells is a leading dance house, committed to producing, commissioning and presenting new works and to bringing the best international and UK dance to London and worldwide audiences.
When the company was granted lottery funding for a technical refit, Graham Cutting, senior lighting technician at Sadler's Wells was keen to install new follow spots based on a system of tracked suspension mounts and brought Doughty Engineering on board to help turn the concept into reality.
Graham said, "I'd started looking into the idea previously, but at the time we simply didn't have the funds to make it happen. Following the Arts Council grant, I realised that we could look at this new system which would allow us to address two issues that the existing system was causing.
"Firstly, being on a lighting bridge, we often had the need to remove or relocate one or all of the 4 spots. To do this safely we needed four technicians, two of which would have to wear restraint harnesses and with each spot taking 15-20 minutes.
"The second issue was one of an ergonomic concern for the operator. The existing tripods had to sit in such a way as to prevent the operator sitting in an upright position under the spot, always leaning slightly to one side. Not a big issue for one night, but over a two month run, this was far from ideal and could leave operators with back and shoulder problems."
Graham wanted a system that would allow quick and easy movement of the spot, ballast and all associated cabling by one person in just a couple of minutes - and a little more comfo
Norway - Norway is the first European country with permanent installations of the compact Meyer Sound Leopard linear sound reinforcement system.
Leopard's remarkable flexibility and versatility made it the choice for two very different venues. The 1,200-seat Grand Hall at Studentersamfundet (Student Society) in Trondheim uses Leopard to support community events such as theatrical performances and conferences, while the Leopard system at Oslo's 650-capacity Vulkan Arena primarily powers hard rock shows.
"When we first saw Leopard we were amazed by its size," reports Torgeir Aadland, project consultant for audio renovations at the Grand Hall. "It was easily one of the smallest in its class, and we had some concern about it performing to our standards. But Leopard has provided excellent sound quality even at the highest levels, and gives us even horizontal coverage - it's everything we were looking for in a new system."
The circular Grand Hall is a central meeting place for the Student Society, an independent organization of around 1,700 Trondheim students. It is used for concerts, cabaret theatre, student conferences, and other community events.
"After installation, the hall hosted the UKA festival featuring concerts, revues, and standup comedy, giving the system an intensive test across different genres," says Aadland. "The sound quality was definitely improved from past years for every event, giving the audience a much more satisfying experience."
At the Vulkan Arena, the new Leopard system has already supported a number of heavy rock shows such a
UK - In a special event for PLASA members to be held on 24 May, the RSC will be providing an immersive backstage tour covering the transformation of Elizabeth Scott's iconic 1932 cinema-style Royal Shakespeare Theatre into a definitive new environment for performing the works of Shakespeare.
This was a major construction programme and Stage Electrics were involved on-site in the realisation of this transformation for over four years working to the design brief created by Charcoalblue (theatre consultants), Buro Happold (engineers) and Bennetts Associates (architects).
This project was a huge collaborative effort with a number of different contributors all handpicked by the RSC. More recently, Stage Electrics have been engaged by RSC in a technical refit of The Other Place, a space created to house the company while their main theatre was being transformed. The RSC technical team will be leading the tours along with Jonathan Porter Goff of Stage Electrics.
Tickets are only £25+VAT and include a buffet lunch and afternoon tea and cake. Bookings can be made by clicking here.
UK - The Theatres Trust has announced the recipients of the Theatres Protection Fund's Small Grants Scheme. Successful theatres in this round are: the Theatre Royal Winchester; Friargate Theatre in York; Tron Theatre in Glasgow; Bridgwater Arts Centre and the Marine Theatre in Lyme Regis.
In Round Eight, the Theatres Trust has awarded the following projects:
Theatre Royal Winchester receives £5,000 towards its 'Tower Street elevation - urgent fabric and structural repairs' project, to restore the weather-damaged Tower Street fa
UK - The Shaftesbury Theatre in London prides itself on being the largest independent theatre in the West End. For over a century it has played host to many high quality, large scale productions, and in order to ensure its long term ability to do this, the theatre recently extended its fly tower, increasing both the height and loading capacity.
This valuable addition to the Grade II listed theatre has made the venue more capable than ever of accommodating large scale productions, particularly musicals, and indeed earlier this month opened Motown The Musical to critical and audience acclaim. The theatre now also provides additional dressing room accommodation and increased on-site office space. To help facilitate the refurbishment, Unusual Rigging was engaged on each of the three phases of the construction process, the last of which was completed in February 2016.
James Williams, CEO of the Shaftesbury Theatre, explained, "Having a long standing relationship with Unusual Rigging, which has been responsible for the rigging of many of our shows, including Motown the Musical, we knew immediately that they were the right people for this major and challenging project. Inner city London, operational theatre and intricacy of installation all presented challenges - one of the reasons that we employed Unusual is that the company is famed for overcoming such hurdles, while always managing to deliver to schedule. We first brought them on board to facilitate the complexities of placing four piled bases to the steel columns that would be fixed through the bui
UK - The Theatres Trust has announced that booking is now open for its tenth annual conference: Conference 16: Protecting Theatres, to be staged at the New London Theatre.
Says the Trust, "In this milestone year in the history of the Trust we will examine the state of our nation's theatres and discuss their future. We will consider the past and present influences on theatre architecture and design; the provision of existing and new theatres in response to city and government devolution; changing demographics; housing delivery and community and audience demand.
"We will then look to the future, and the potential for the next 40 years, and ask: What kinds of theatres will we need to build, and how will we find the resources to do so? How should we be asking existing buildings to adapt and change? What impact will the popularity of digital distribution of live theatre have? How will we ensure that the right spaces are available in the right locations for the next generations of theatre makers?"
Protecting Theatres will also examine the wider cultural landscape, including the role of theatres in stimulating cultural and economic development, and the increasing technical demands being placed on theatre buildings.
Mark Shenton, Conference 16 chair, associate editor and joint chief theatre critic for The Stage, says, "This is the perfect opportunity not just to look to the past and the heritage of our wonderful theatre buildings that the Trust helps to preserve, but also to the future needs and provision as different theatre makers expand where and ho
Belgium - Due to renovations, the Royal Munt Theatre in Brussels needed temporary accommodation elsewhere at short notice. Veldeman provided a quick, qualitative solution and built the Munt Palace on the site of Tour & Taxi's, an opera house which was made to measure with a capacity of welcoming up to 1,100 people. An imposing TFS (Tension Fabric Structure) tent of 3,200sq.m will accommodate the opera productions until at least the end of 2016.
A storey tent of 25m by 40m serves as an entrance hall and VIP room. A true eye-catcher is the facade which has been personalised in a beautiful way, referring to the Munt's pediment in the heart of Brussels. The entrance and covered terrace were luxuriously decorated with wooden walls, wooden ceiling and a beautiful new bankirai floor. This highly qualitative decoration was maintained on the inside as well. The cloakroom was walled by upholstered wooden walls and around the support poles on the ground floor, bar tables were made to measure. Among other things, eye-catchers in the interior are the original decor pieces of De Munt.
Visitors to the Munt palace won't have any lack of comfort. A stylish transition has been made from the entrance hall to the opera hall. Acoustics are extremely important for opera performances. Thanks to the enormous interior space of the TFS, it provided the opportunity to improve the acoustics by using special upholstering. The theatre setup and large, clear span area without central supports guarantee opera lovers a perfect view of the scene. All possible means were used to reduce noise t
UK - The Theatres Trust celebrates its 40th anniversary in 2016 with a new strategy and visual identity that sets us on a new chapter - championing the past, present and future of live theatre by protecting the buildings and what goes on inside.
At PLASA Focus Leeds, the organisation will be holding a seminar Theatres Trust 40 on 11 May at 2.15pm, where show visitors are invited to join discuss "what we need to be doing today to protect theatres for live theatre tomorrow". The Trust explains, "Throughout PLASA you will also be able to find out how we can help you with advice on planning and development, resources to make theatres sustainable, and financial assistance through grants, and hear about our latest work with theatres at risk."
The discussion and debate from Theatres Trust 40 will be developed at Conference 16: Protecting Theatres on the 21 June at the New London Theatre. Registration for Conference 16 will open shortly.
UK - The Theatres Trust, the national advisory public body for theatres, has announced a renewed commitment to the protection of theatres with a new strategy and visual identity and the launch of our Theatres Trust 40 programme of events.
Says the Trust, "As the voice for theatres we use our knowledge of policy and practice to promote the value and benefits of theatres in use. We want live theatre to have a place in everyone's lives.
"We are committed to delivering a more powerful campaigning voice. Our expert advice will be more visible and more influential in the planning system and within the theatre industry. We will create new opportunities to discover more about theatres, and we will increase the levels of capital grants and funding we provide."
Chair of the Theatres Trust, Tim Eyles, says, "Our new strategy and visual identity mark the start of an exciting next chapter in the life of the Trust. We are passionate about great live theatre, and I look forward to the Trust's expertise being channelled with renewed energy to help the nation's theatres thrive into the future."
Director of the Theatres Trust, Mhora Samuel, says, "Our influence means it's now very rare to see theatres demolished without being replaced. We're proud that the quality of theatre design is the best it's ever been. We've achieved great things for theatres by speaking loudly in the planning system. In our anniversary year I invite everyone to join us at a Theatres Trust 40 event, and online, to debate how we continue to protect and promote our nation's theatres now and in the
India - International theatre consultancy practice, Theatreplan, has been selected to provide auditorium, conference centre and technology design services for Vrindavan Chandrodaya Mandir (VCM), the world's tallest temple under construction in Vrindavan, Uttar Pradesh, India.
Vrindavan is the birthplace of Krishna and the spiritual capital of India. The project is the result of 30 years of work and investment by ISCKON (The International Society for Krishna Consciousness) who are managing the design and construction process.
ISCKON has built a design team with some of the world's leading design firms. Theatreplan was selected for its "world class pedigree, collaborative and creative approach" to auditorium planning and technology design.
According to Theatreplan's project director for VCM, Brad Maiden, "This project presents a unique opportunity for Theatreplan to embark on a cultural journey, contribute to and learn from what will be one of the landmarks of collective human achievement in this region. We are honoured and proud to be a part of this amazing project. The VCM project also represents a significant strategic pivot for Theatreplan as we expand our entertainment, technology and customer engagement solutions into the APAC market. The VCM project is a major pillar of our innovative work in this region." The temple has a footprint of approximately five acres and rises to a height of about 700ft (213m or equivalent to 70 floors) and a built-up area of 540,000sq,ft. The temple is planned to be vibrant with various Sri Krishna-related festivals a
UK - Music and design company GAS Music composed & produced the music and visuals behind the spectacular New Beginnings show of Ashton-Under-Lyne Old Swimming Baths. On 19 in the swim at March a live show revealed the history of the public swimming baths originally opened in 1870 with 11 original pieces of music plus a backdrop of CGI historical images created by GAS.
GAS worked closely with Tameside Council, choreographer Stacey Maurice who directed almost 200 dancers for the performance and creative producers Stone Soup who led the multi partnership project.
The opening event attracted over 10,000 people to celebrate the rebirth of this iconic piece of English history. The large brick Italianate building fell out of use 40 years ago and was on the at English Heritage at risk register but until funding of £3 million from Tameside Council, Heritage Lottery Fund and the European Funding Agency saved it. The Victorian building will be the centre of the local community once again offering a tech hub to a local community of entrepreneurs.
Tameside Council, councillor Jim Fitzpatrick said, "Bringing Ashton Old Baths back into use is a significant achievement and I am really proud of the way in which the Council working with partners including the Heritage Lottery Fund, Placefirst, AGMA, and the European Funding Agency have breathed life back into this fantastic building. The celebration event on the 19th of March is the culmination of years of hard work and determination and I know the community will be as fascinated as I am to see how Gas Music i
UK - The Theatres Trust responds has responded to the Culture White Paper published by the DCMS on 23 March 2016.
Says the Trust, "We are pleased that the Culture White Paper recognises the absolute importance of the arts and culture in people's lives - in education and the economy; within local communities and internationally. Whilst the ambition of the White Paper shares much with Jennie Lee's paper of 50 years ago, in our own 40th Anniversary year we agree that the economic challenges faced today are very different.
"So we welcome initiatives to promote the role of culture in place making through the new Great Place scheme; improve access to the arts through the new Cultural Citizens programme; and support the development of the historic built environment through the establishment of new Heritage Action Zones.
"We look forward to playing a full and active role in these initiatives by protecting the buildings and cultural assets which will widen access and provide new opportunities to experience live theatre.
"The White Paper rightly highlights the potential risk of new development on existing theatres and heritage, and we are delighted that it recognises the role of the Theatres Trust and the work we do with local authorities and communities."
As a statutory consultee in the planning system the Theatres Trust advises local authorities on all planning applications for theatre buildings, and provides expert planning, design and conservation advice.
"In the spirit of the White Paper we are also pleased that our statutory planning role in Wales
USA - Built in 1971, the John Lance Arena at Pittsburg State University (PSU) in Kansas is home to the Pitt State Gorillas basketball team. The University recently received significant contributions, led by Alan and Roberta Whetzel, for renovations to the 6,500-seat capacity arena. Included in the improvements was a wall-to-wall maple hardwood floor covering the main court and two practice courts, new seating, new shooting standards and a VUE Audiotechnik sound system designed and installed by Reliant Media Systems.
The new VUE sound system in the John Lance Arena consists of four arrays and two zones of fill speakers. The two arrays that face the North and South sides of the arena each are made up of four VUE al-4 Subcompact Line Array systems and one al-4SB Flying Subwoofer System. Each of the two arrays facing the East and West ends of the arena are comprised of six al-4s and one al-4SB. Eight VUE i-8 Full Range Foreground Systems set-up in two zones serve as the fill speakers.
"The University as a whole has become very aggressive in updating and maintaining spotlight features around its campus," says Zach Aaron, CEO, Reliant Media. "The school's athletic department was undertaking new construction elsewhere on campus, so they felt it was time to rethink all of their indoor athletic facility audio systems. That prompted the basketball arena upgrade. PSU's athletic department was very interested in VUE after listening to it. We were able to explain to them the difference between a line array and a typical distributed system, and the pros and cons. They were
Sweden - Mamma Mia! The Party has landed at the Tyrol, a restaurant in Stockholm's Gr
USA - Chapman University students and faculty and the Orange, California community can look forward to a new era of cultural and educational opportunities with the 19 March opening of the 88,000sq.ft Marybelle and Sebastian P. Musco Centre for the Arts.
Located at the gateway to the university, the new $82m arts centre - designed by architect Pfeiffer Partners in collaboration with Theatre Projects, acoustician Nagata Acoustics, and AV consultant Sonitus - gives Chapman University a characteristic architectural icon designed to meet the needs of their award-winning Conservatory of Music, and the Departments of Music and Theatre.
The building features the 1,044-seat Julianne Argyros Orchestra Hall, a remarkable and versatile multipurpose theatre. Theatre Projects worked with the design team to create an intimate auditorium - with a mezzanine, side boxes, and two levels of balconies that step down toward the stage. The seating wraps the audience around the stage and draws them closer to the performers for memorable and impactful performances. The theatre features a large stage with full fly tower, stage traps, and two orchestra lifts that can create a Broadway pit, large opera pit, or stage extension when in concert mode. It also has a modern theatrical dimming and relay system, advanced LED lighting, and a full array of rigging, including a motorized house curtain.
But the real story of the room is its versatility. The university wanted both a dynamic performance space for drama, dance and opera, and a world-class venue for symphonic and choral music. So t
UK - The Theatres Trust has welcomed changes to the Permitted Development Order (England) as developers now need to address noise impacts before undertaking an office to residential conversion near an existing theatre or live music venue.
From 06 April 2016 local planning authorities will have to consider noise impacts on new residents from existing businesses, under an amended permitted development right that allows offices to be converted to residential use, without the need to obtain planning permission.
The amended Order means developers will now need to seek prior approval from the local planning authority that any noise mitigation measures proposed are suitable to ensure that nearby theatres are protected before a change of use from an office to residential building can be carried out.
Theatres Trust said, "The Trust welcomes the changes to the Permitted Development Order to help protect the nation's theatres. It provides an opportunity to engage with developers and ensure, in terms of potential noise impacts, that new housing can be delivered while protecting the viability of theatres and live performance venues."
The Town and Country Planning (General Permitted Development) (England) (Amendment) Order 2016 was presented to Parliament on 11 March 2016 and will come into effect from 06 April 2016. The amending Order can be found here.
As the statutory body for the protection of theatre buildings the Theatres Trust works to secure better planning regulations
Norway Oslo Opera House frequently hosts events that need sound reinforcement - and it needs a loudspeaker system that's up to the task. To deliver the best possible listening experience for discerning audiences, the venue has installed a flexible solution from d&b audiotechnik.
With regard to acoustic excellence, buildings don't come much more impressive than the Oslo Opera House, home of the Norwegian National Opera and Ballet. The acoustics at this stunning, waterside building are so good that no amplification at all is required for opera performances. Here, the design is literally all about sound, from the interior spaces and the shapes of the walls and stage, to the materials used for construction.
Although the acoustics at the opera house are world class, there are plenty of occasions when a loudspeaker system is needed. Often, recorded music is used in ballet productions, and the venue also hosts frequent rock and pop concerts. For these types of events, the opera house needs an audio solution that provides an excellent, and highly consistent, experience for members of the audience - wherever they are seated.
When it came to choosing a system, the audio team drew up a wish list. Gerhard Hertzberg, head of sound at the Norwegian National Opera and Ballet, says, "We didn't just want a system that could deliver consistently excellent sound for our productions. We also wanted to be able to rig and unrig it quickly in multiple configurations to support different types of events, from ballet productions to rock concerts."
The Oslo Opera House was inu
UK - PLASA members enjoyed a unique opportunity to take part in an informative and fun day backstage at the recently refurbished Sadler's Wells theatre last week.
The venue - one of the most respected and important receiving and co-producing dance houses in the world - recently underwent a major refurbishment, as detailed in the June 2015 issue of LSi.
Emma Wilson and Christian Wallace from Sadler's Wells, plus the specialist teams from Stage Electrics, Stage Technologies, Carr and Angier and GDS led the tours from the impressive auditorium up to the dizzying heights of the grid and flying system. Members then reconvened for a lively networking lunch before taking the opportunity to further explore areas of specific interest. The busy and insightful day finished with tea and cake.
Look out for details of the next PLASA Backstage Tour, which will be held at the RSC in Stratford-upon-Avon on 24th May.
USA - With the start of the spring semester at Eastern Connecticut State University in Willimantic, Connecticut, students in the University's theatre, music, and visual arts programmes are settling into their new Fine Arts Instructional Centre.
A collaboration between Theatre Projects, design architect William Rawn Associates, executive architect The S/L/A/M Collaborative, and acoustician Kirkegaard Associates, the 118,000sq.ft arts centre features a 400-seat concert hall, 250-seat courtyard theatre, and a 120-seat studio theatre, as well as support spaces including rehearsal rooms, scene and costume shops, dressing rooms, and a green room.
"Theatre Projects and William Rawn have a long history of successful collaborations," Scott Crossfield, Theatre Projects' theatre designer, said. "We're excited to add ECSU's beautiful new arts centre to that list and we look forward to many more."
The $62m facility gives the university the ability to nurture artists-in-training with versatile facilities tailored to a diverse cross section of specializations. Not only can ECSU now provide an environment catered to comprehensive arts education, they can also boast an elegant building to invite the student body and public inside to experience the work of students and outside performers in professional surroundings.
Designed to accommodate the entire Department of Performing and Visual Arts, Theatre Projects and the design team planned the building to allow the diverse group of arts students shared access to the support spaces. Aside from being both a streamlined and
USA - Originally constructed in the late 1960s, the Abilene Civic Centre is a spacious, multi-purpose venue with a live performance theatre, an exhibit hall and a large conference centre that can be subdivided to accommodate as many as four simultaneous events.
In part because of its age, the conference centre's audio system did not meet the voice intelligibility or audio quality expectations of its many banquets, meetings, press conferences and other events, especially those that involved modern presentations or musical performances. Thus, in 2015, the city decided to upgrade the audio system. And, they wanted a system that would provide both highly intelligible voice reinforcement and high-quality music production.
The city contacted Jerrold Stevens, of consulting firm Marsh PMK, who designed a highly flexible system with wireless iPad setup and control. Simple events can be configured for hands-off operation with one or two Sennheiser wireless microphones or meeting planners can request one of four Yamaha digital mixers for events with musical or dramatic performances.
Auto-mixing, signal processing and control are provided by a BSS London DSP with iPad interface and the system includes 78 Community D Series model D8 two-way coaxial ceiling loudspeakers powered by Lab Gruppen amplifiers. Consultant Stevens commented that he included the D8s as an alternative in his specification for their true coaxial design, high sensitivity and wide coverage.
Electro-Acoustics, Inc. of Fort Worth, Texas, installed the conference centre's new audio system. Sales m
UK - Following a competitive tender, Adlib was recently appointed by Glasgow City Council to supply a new loudspeaker system to the Royal Scottish National Symphony Orchestra's new home, the RSNO centre.
The impressive new venue forms part of the Royal Concert Hall complex in the heart of Glasgow's vibrant city centre.
The new auditorium was developed by the Council's in-house design team led by architect Kerr Robertson. It is adjacent to the main Concert Hall (home of the Royal Scottish National Orchestra) which opened in 1990 as part of the city's year as European Capital of Culture.
The overall complex features a 600-seater auditorium, a rehearsal space and learning centre, a recital hall and performance space that will be also used for classical and choral recording as well as for folk and other amplified music events.
Following a detailed site survey and subsequent acoustic modelling of the new room, Adlib proposed the introduction of an L-Acoustics Kiva system complimented by SB15m and SB18i low-end speakers, with additional L-Acoustics XT Series speakers as in-fills where additional sound coverage was required. On appointment, Adlib liaised with the Glasgow Royal Concert Hall's in-house technical managers and also with ARUP.
The space is flexible with automated retractable seating, so the Kiva was chosen as an elegant, very lightweight modular line source solution offering great acoustic performance, intricate clarity and rich detail. Another benefit of using Kiva is that it can also have inter-cabinet angles altered to suit current and fut