Now restored to its former glory – complete with its original pipe organ – Manchester’s Albert Hall is one of the most atmospheric live entertainment spaces in the city.

Rehabilitated by independent owner TROF, the venue has been equipped with a d&b audiotechnik loudspeaker system by Manchester-based audio specialist tube UK, to accommodate a diverse range of shows.

The former Wesleyan Chapel was built in 1910. Its main chapel hall was derelict and long forgotten – as it had been for 40 years – when tube’s Melvyn Coote conducted the first sound tests for TROF’s MD Joel Wilkinson. These would help ascertain how viable it would be to convert into a prime live performance space. Shortly afterwards, TROF acquired the building and embarked in an ambitious plan.

‘It was hugely exciting to be involved in something like this from the ground up,’ says Coote, who embraced the same labour of love ethos that drove all at TROF during the restoration. The big challenge facing him and the tube team was the multi-purpose nature of the entertainment programme – from banging club nights and Bongo’s Bingo raves to a fine-tuned line up of multi-genre bands to comedy and cabarets. It is also available for private functions, parties, presentations and conferences, so ‘covering all bases’ was the aim for the standard system.

Coote chose ten d&b V8s, which are groundstacked left and right of the stage, rigged on four V-Subs and four B2 Subs. The balcony circles the venue 270°, meeting up with the stage at one end, so there are two further hangs, each comprising four d&b Y8s and one Y-Sub, all flown, together with four Q7s serving as close-field fill for the wrap-around area. Downstairs on the ‘ground’ floor of the venue, are four E8 delays hung under the balcony ceiling. The brief also included kitting out the dressing rooms and the VIP bar area, which are served by E8s – compact and excellent quality.

d&b was chosen by Coote for its robustness, overall sonic qualities, compact dimensions and aesthetics. ‘I needed a system offering full dynamics from the super-high SPLs of dance music down to the finesse and detail the spoken word,’ he explains.

It also had to be a lightweight solution. A series of new points were installed during the renovations, but these are only rated at 300kg, so with rigging of around 110kgs already used, the Y8s at 20kg each and the subs at 52kg made it realistic.

‘There are not many other systems that could do the business in terms of power-to-weight ratio,’ Coote asserts.

All the d&b elements are powered by 17 D12 amplifiers routed via a Yamaha DME 24 matrix controller. A Yamaha CL5 was selected for both FOH and monitor consoles, picked as a ‘fantastic mid-level choice covering a multitude of requirements’ says Coote. More specific requests are dealt with as needed, and performers also have the option to bring in their own consoles – a facility made super-easy with the Yamaha DME

The house monitor set-up includes d&b M4 wedges and a Q-Sub drum fill, again powered by D12s, and tube supplying a mics-and-stands package from Shure, Sennheiser, Audio-Technica and beyerdynamic.

The DJ kit was also part of the tube deal, with a standard club spec of three Pioneer CDJ2000 NXS decks, a Pioneer DJM900 NXS and two Pioneer PLX1000 Turntables. Two d&b Q7/Q-Sub stacks complete the set-up, with other items available as add-ons – including Pioneer NXS-2 units, A&H Xone:92 analogue mixers and a section of Rane products.

The room itself was designed as an acoustic venue for spoken word events, presentations and conferences – but not always an advantage for amplified music and performance. Another challenge is that the stage is an integrated part of the room – there’s no proscenium arch or other separation, so the volumes onstage in particular have to be tightly controlled. ‘Solid punchy and in-the-face – but negotiating that fine line between 10 and 11,’ quips Coote.

Visiting engineers and those working in the space for the first time have to take into account the idiosyncrasies and disparities between it being empty and full as it makes a huge difference.

The Albert Hall has a full programme of shows. Dan Steele co-ordinates the sound for each one, working with a team of around 15 regular engineers, with many others on the ‘wait-list’ and keen for a chance to work at one of Manchester’s coolest sounding and most exciting night environments.