Tag:installed sound

Isis Music Hall stageThe Isis Restaurant and Music Hall in Asheville (North Carolina) brings more than food and drink to the table, as it also has a concert venue. Located in a former cinema that originally opened in December 1937, the venue books national as well as regional performers and can accommodate more than 350 people.

Designed and installed by Tom Brockenbrough Jr – principal of local company, Summit Communications Systems – the sound system is based around a Midas Pro2c digital mixing console (for both front of house and monitor duties) and an FOH loudspeakersystem comprising two EAW QX564 three-way loudspeakers driven by two Powersoft Duecanali 5204 DSP+AESOP and one Duecanali 3904 DSP+AESOP anplifiers in the music hall, as well as a pair of EAW SB1002 subwoofers positioned below the stage powered by a Powersoft K8 DSP+AESOP.

A Powersoft M28Q HDSP+ETH supplies power to a balcony fill system of four EAW MK8126 two-way loudspeakers. Audio and control data runs between the console and the Powersoft amplifiers over Ethernet.

An additional three Powersoft Duecanali 3904 DSP+AESOP amplifiers are dedicated to the monitor system. Six EAW MicroWedge 12 floor monitors and a single 15-inch EAW MicroWedge Sub cover the stage, which measures 26-ft wide by 17-ft deep.

The hall has also been comprehensively acoustically treated.

It was Powersoft Executive VP Ken Blecher who introduced Brockenbrough to the amplifiers on a visit to Asheville during restoration and construction of the venue. ‘When Ken took the time to visit us during our selection process, we were sold,’ he says. ‘He cracked the lid of a K Series and it was obvious that they had changed the game. I’d never seen a design like this before. Now with the amplifiers in place, I am happy to say that Ken and Powersoft delivered in every way. These are the most linear and transparent amplifiers I’ve ever had on a PA system, hands down.

‘I was pretty set on using EAW’s DSP, but as Ken demonstrated, I was able to load the EAW factory presets into PowerSoft’s DSP and was presented with a GUI also unlike anything I’ve ever seen,’ he adds. ‘The process of building up virtual racks and applying EQ groups across multiple amplifiers is the most intuitive and user-friendly interface that you could ask for. I only wish that I had access to this technology back when I was operating and tuning much larger systems. With an extremely savvy client, it was not only important that Summit provide world class products, but also the services to support this, and we are very grateful to Ken and his team at Powersoft for being right there with us every step of the way.’

Tom Brockenbrough JrBrockenbrough, who will oversee the system at the music hall for the initial schedule of performances, is using Powersoft’s Armonía Pro Audio Suite PC software to control the eight Powersoft amplifiers from the front of house position. ‘At front of house I’ve got two virtual racks and various EQ groups built in the Armonía software: a house rack with the amps for tops, subs and fills, and a monitor rack with those three amps,’ he says.

‘I am really taking my time with tuning the system and making sure that my client and our community get the absolute very best that we offer. As we go through some different genres and styles of music, I am thoughtfully working on a place for the rig that best complements everything and everyone. But, it is also nice to know that we can very easily apply various presets if ultimately we need be able to change gears depending on the performance requirements.’

Brockenbrough has configured software presets for six two-way wedge mixes or four two-way wedge mixes, plus a three-way mix, integrating the MicroWedge Sub. In addition, Brockenbrough has enabled Powersoft’s Active Damping Control in the software. ‘Where I was initially worried that the room would need more low-end, after applying damping control I’ve actually had to bring the subs back down!’ he reports. ‘They just sit there and purr at you, no matter what you do. I have never heard anything like this. It’s awesome.’

Despite the fact that Asheville is only the eleventh largest city in the state of North Carolina, Brockenbrough believes that the production value at Isis is on par with or exceeds what is found in any major metropolitan area: ‘With these products and the excellent support we receive from our partners like Powersoft and EAW, I’m proud to say that we’ve created a landmark. This system feels and sounds better than anything I’ve ever come across in a 350- to 400-capacity room, and we are just getting started. Awesome just begins to describe it.’

More: http://summitcomsystems.com
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The theatres at six of California’s San Mateo Union High Schools District schools are currently being updated and upgraded. Two of the projects – the new 614-capacity Aragon venue and refurbished 90-year-old, 593-seat Burlingame space – have been completed, with consulting provided by San Francisco’s Shalleck Collaborative, which specified L-Acoustics loudspeaker systems throughout.

Aragon theatreBoth feature LR arrays of six L-Acoustics Kiva elements, flown beneath a single SB18 and driven by LA4 amplified controllers. The remaining four theatres are all scheduled for completion prior to the start of the 2013-14 school year. Two of the schools boast nearly 800 seats and feature long, narrow room geometries, which will use left and right arrays of eight Kiva with a central cluster of three SB18i arranged in a cardioid configuration. A third school, with close to 1,000 seats and a single balcony, will feature a total of six Kiva, two Kilo mid-frequency extension cabinets and a single SB18 per side, while San Mateo (1,540 seats) will use two arrays of eight larger Karai hung below two SB18i.

‘L-Acoustics’ dV-Dosc has always been one of my favorite loudspeakers, especially for theatre because the vocal quality is so wonderful,’ says According to Shalleck Collaborative Principal, Ian Hunter. ‘But I have to say that the essence of dV-Dosc – and now Kara – translates down very well into the much smaller and more cost-effective Kiva enclosures. They possess the same clarity and truth of reproduction, particularly in the vocal bandwidth, and really sound fantastic in these relatively intimate spaces.

‘The San Mateo District is a fairly sophisticated client when it comes to arts and technology,’ he continues. ‘Their productions are always high-profile and extremely well produced, but they still had to stay within a budget, which L-Acoustics fit nicely. With Kiva and Kara, we were able to offer a scalable solution with a great cost-to-performance ratio and the systems easily support the district’s whole range of events from PTA meetings to “battles of the bands” and everything in between.’

Santa Rosa-based PCD is handling integration duties for three of the schools with the other three bids being awarded to three separate contractors.


The Bethel Baptist Church in North Carolina has opened a Vision Center, housing additional Sunday school rooms and office space, as well as a large kitchen and multi-purpose fellowship area and stage.

Bethel Baptist ChurchBecause the room hosts everything from theatrical performances on a large recessed stage to basketball games, the centre’s sound system system needed to support an assortment of live events. In addition, the room was typical of a gymnasium with a 28-ft ceiling, metal roof, tile floors, plenty of hard surfaces and no acoustic treatment to speak of.

‘Bethel Baptist Church has been a customer for seven years,’ explains Tony Parker, co-owner of Parkers Productions who were called in to design and install the system. ‘When they started construction on the new facility we began planning on how to accommodate their sound needs for the space. We knew there would be serious acoustic challenges to overcome in order to implement the pristine sound they envisioned.

‘We immediately thought of QFlex from Tannoy – the ability to control the sound and focus it in the desired areas was going to be key.’

Parker chose two self-powered QFlex 24 loudspeakers, which have been wall mounted to the left and right of the stage approximately 12 feet off the ground. The QFlex 24s, just under 5-feet tall with less than a 7-inch width and depth, blended in with the wall, making them nearly invisible. Each QFlex 24 is loaded with eight 4-inch LF drivers, eight 3-inch LF drivers and eight 1-inch HF drivers. Under the stage, two powered subwoofers were installed behind a reinforced screen cloth to enhance the depth of the sound.

With a horizontal dispersion of up to 120°, Parker used Tannoy’s VNEet software to focus the output to cover the seating area, maximise the vocal intelligibility and minimize the room reverberation. ‘The sound quality and control of the new system is amazing,’ says Bethel Baptist Church Sound Engineer, Michael Byrd. ‘Parkers Productions was able to program the output from the Qflex to keep the sound off the walls. Since the install we have had many comments from people within the congregation complimenting the sound quality.’

Parker also used Roland’s M-300 digital V-Mixer in conjunction with a 4000-S Digital Snake. As a result the church sound team can quickly and easily set-up a front-of-house position in the center of the room when events require it. When not necessary it is stored out of the way. ‘The Snake makes it as simple as merely unplugging one data cable from one location, moving the portable mix station to the center of the room, and patching the data connection in there,’ Parker says.

The scene storage in the M-300 allows the team to save the setting for cantatas and plays for immediate recall when needed. Otherwise the mixer operates in standard mode for athletic event play-by-play or general announcement use. ‘Our sound team was a little concerned about the learning curve moving from an analogue to a digital board,’ Byrd says. ‘But the layout of the mixer is very friendly. With just a short introduction and a few minutes of ‘hands on’ I was ready to go.’

The church is extremely pleased with the sound quality, ease-of-use, unlimited versatility and overall simplicity of the new sound system: ‘The best compliment is when the client tells us that they have never experienced this great of sound in a gymnasium before,’ Parker concludes. ‘That is, after all, what we were trying to accomplish.’

More: www.tannoypro.com
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The recent opening of the NOK1.225bn (€165.2m), Stavanger Concert Hall in Norway ended a 14-year wait for a permanent home for the Stavanger Symphony Orchestra.

DiGiCo SD7 desk in the Zetelitz HallDesigned by architect Ratio Arkitekter, the 13,800m2 venue has been designed to host all types of cultural event in its two concert halls – the Fartein Valen (symphony hall) and the (multipurpose hall). Both are equipped with GiGiCo consoles for their sound systems.

Using independent soundproofing and load bearing systems, the venue’s isolation is so efficient that a rock concert and classical event can be staged simultaneously with no disturbance between the two halls. They share a foyer and restaurant, and are complemented by 180 other rooms which include rehearsal spaces, dressing rooms, meeting venues, cafes, bars, community facilities and an outdoor amphitheatre.

The Fartein Valen has 1,500 seats and the ceiling can be lowered up to 6m to alter its acoustics along with 13 adjustable acoustic reflectors. The Zetlitz accommodates 700 seats for opera, 800 for musicals, 1,400 for conferences and 1,900 (with a flat floor) for music concerts.

Designed and supplied by DiGiCo’s Norwegian distributor Bright A/S, the sound installation features two DiGiCo SD7s, two SD8-24s, an SD10 and six SD Racks (both fixed and portable). Both halls have a normal set-up of 112 input lines and 64 output lines, and can easily be expanded when needed. A full fibre-optic network has connection points spread throughout the venues, providing a flexible set-up and easy accommodation of different events.

Johan BerntsenThe venue’s Head of Sound is Johan Berntsen, who is an experienced touring engineer and spent several months working with Bright A/S to train the venue’s engineers and set up the system, ready for the ten day-long grand opening.

‘For many of the in-house engineers, this has been their first experience with DiGiCo consoles and their feedback is very positive,’ says Truls Birkeland of Bright A/S. ‘The stability and flexibility of the system has been highly praised and the engineers loves the functionality of the consoles.’

‘The ability to share resources on the optical loop is fantastic,’ says Berntsen ‘Sum mixes are sent on the virtual tie-line system, being picked up where needed. The time needed for doing a soundcheck of the Stavanger Symphony Orchestra has been halved. It’s absolutely brilliant.

‘To have 24/7 support from both DiGiCo and Bright A/S has been crucial for us,’ he adds. ‘As well as overseeing the installation and helping to train the engineers, staff from Bright A/S also spent the entire ten days of the opening celebrations overseeing the audio production. This was very reassuring for everybody involved.

The opening events saw the system used to its fullest extent, with both halls used in different configurations and the DiGiCo consoles being used for everything from front of house only to FOH, monitors and a separate submixer for the symphony orchestra. More than 25,000 attended the performances, with local and national commentators alike complementing the venue.

More: www.digico.org


A legend in a world of legends, New York City’s Birdland (‘The Jazz Corner of the World’) is one of the best-known jazz clubs in the world. An intimate room that has hosted the world’s greatest jazz artists it was recently in need of a sound refit.

Perhaps more than most venues, the sound system at Birdland is a vital part of the musical experience. To keep it in key, the venue has a JBL loudspeaker system, including six VRX932LAP powered Constant Curvature loudspeakers, a pair of ASB6112 subwoofers, two Control 29AV loudspeakers and six PRX612M powered portable PA speakers used as stage monitors.

‘As the engineer at Birdland, the most important thing for me to be able to do is amplify the musicians’ stage performances in the most naturally sounding way so that the system is almost invisible,’ says house engineer, Richard Bernard. ‘The musicians who perform at the club almost always have their own very distinct sound and that’s what people want to hear – that sound.’

A sound system that needed to be heard while not drawing attention to itself was a challenge. To achieve this goal, Birdland hung six JBL VRX932LAP loudspeakers directly above the stage – two facing downstage towards the main house, two located stage right towards one side of the room and two on stage left facing the rear side of the bar. In addition, two Control 29AV loudspeakers are hung at the far side of the bar, giving total coverage for the room. The two ASB6112 subwoofers are hung downstage on the left and right front corners.

‘I’m running the system in mono, and the subwoofers are connected to the spare aux send on the mixing desk, so I’m free to choose which channels I send to the subs,’ Bernard says. ‘I used to have to mix for the house and the bar would basically get what they would get. That’s no longer a problem as we’ve had many compliments on being able to hear from that side of the room.’

The most noticeable improvement in the system is the level of clarity: ‘This is a massive help because the response of instruments and vocals is very true and I’m not forced to just keep turning up an instrument in order for people to hear it – once everything is in its own little pocket in the mix, it just sounds great, Bernard reports.

In addition to JBL loudspeakers, Birdland installed a variety of additional Harman equipment, including AKG microphones, dbx processing and Crown amplifiers.


One of the oldest congregations in the US, the Royal Oak Presbyterian is another church that is adapting its services to meet modern needs: ‘We’re trying to merge our traditional services with new expressions of worship that are meaningful for the intergenerational nature of our congregation, Pastor Alan Gray confirms.

Royal Oak PresbyterianEstablished in 1776, the history and the traditions associated with the church are an integral part of its worship, but modern worship and technology are equally welcome. Designing a sound system for the highly reverberant, 450-capacity sanctuary – without detracting from the aesthetics treasured by its congregation – fell to audio designer/installer KD Forsha, who specified Tannoy’s new VLS passive column speaker arrays and Tannoy VS 10BP subs,

Built in 1923, the  acoustic challenges presented by the santuary were substantial. But, even with the 30-foot high peaked ceilings, plaster walls and a large amount of beautiful but reflective, custom woodwork, Forsha believed the VLS passive column arrays, which feature transducer technology and Focussed Asymmetrical Shaping Technology (FAST), would meet Royal Oak’s needs and budget.

The result is an audio system with a low-profile, highly intelligible solution for the reinforcement of speech and a wide variety of live musical ensembles – from full electric praise bands and vocal groups to string ensembles.

Forsha used four Tannoy VLS 15s – two to cover the balcony and two to cover the main floor – and mounted a pair of VS 10BP subwoofers discreetly on steps leading up to the pulpit for LF support throughout. ‘The VS 10BPs can sit sideways or long-ways, so I could mount them where they wouldn’t be in anybody’s way visually or physically,’ he says.

The compact profile of the VLS 15s and their ability to offer focused coverage in each of the upper and lower sanctuary zones also informed his choice: ‘Like the VS 10s, they can fit in a lot of places and they completely blend in with the wood-stained posts they’re mounted on. Also, the FOH position is in the balcony, so it was important the two zones equaled out, but I was able to use the free, Ease Focus software Tannoy had on their website, which is very sophisticated, to help determine ideal locations for the VLS 15s.’

The combination of the VLS 15s and VS 10BPs provide benefits for both listeners and those who are most often behind the microphones, which was key: ‘The only acoustic treatment they have is what I call “standard, southern church acoustic treatment” – people,’ Forsha says. ‘Plus, the system needed very little EQ and I don’t have any issues with open mics. The preacher can actually walk right by them with his headset microphone on and we just don’t have a problem.’

Based in Bristol, Tennessee, and founded in 2006, KD Audio is a sole proprietorship that specialises in home theatre and house of worship installations.

‘I’ve used Tannoy many times, in all kinds of commercial venues, and I’ve been impressed with every speaker, every time,’ Forsha closes.

More: www.tannoypro.com


Part of The Common Man family of restaurants, The Flying Monkey Movie House and Performance Center serves audiences in New England with some of the best contemporary musical and comedy acts. Booking both regional and national artists, the venue’s schedule includes violinist/fiddler Natalie MacMaster, singer/songwriter Judy Collins, guitarist Johnny Winter and Blue Oyster Cult. Providing the sound reinforcement is nothing to be taken lightly...

Gary Agresti with The Flying Monkey GM, Brooks BartlettContracted to design and oversee installation of the newly renovated theatre’s sound system, full service production/design/build house K Production Services chose DAS Audio’s Aero 12A line array modules and LX-215A subwoofer systems, and an Avid Venue digital console.

‘The Flying Monkey is an old converted movie house,’ says K Production Services President, Gary Agresti. ‘It is very oddly shaped and presented many sound-related challenges for live audio performance. The wanted to offer shows from a variety of genres – from soft acoustic acts all the way through loud rock concerts – so we needed a sound reinforcement solution that would provide dispersion and clarity at all sound pressure levels.’

The Flying Monkey’s main loudspeaker system comprises 14 Aero 12A line array elements – flown six modules per side (stage left/right). Low-frequency support is provided by two LX-215A sub-bass enclosures – one per side, vertically aligned with the overhead hangs. Additionally, there are two Aero 12As mounted from the theatre’s ceiling, toward the rear of the space as an upper balcony delay system. A DAS DSP-4080 stereo/mono processor handles loudspeaker management while an Avid Venue SC48 digital console resides at front of house.

‘With their self-powered design, the loudspeaker systems were the ideal match for this project, ’ Agresti says, ‘In addition to the streamlined cabling and ease of installation the powered systems afford, the DAS equipment provides consistent coverage throughout the space, as well as excellent speech intelligibility and music reproduction. The vocals just pop, while all other mid frequencies stay clear and well-defined. These enclosures handle everything we throw at them with absolutely no distortion.

‘We work with many national touring acts that have used just about every conceivable audio system out there. We’re constantly being told they feel the sound at The Flying Monkey is among the best they’ve encountered. The feedback from the Monkey patrons is just as positive.

‘DAS Audio’s customer service has been immediately responsive to all of our needs,’ Agresti adds. ‘A company representative called to verify that we received everything, asked if we had any questions, verified everything was working correctly, and they continue to check in to ensure all our requirements have been met. In my book, that’s an A++ rating.’

‘As The Flying Monkey expands its lineup for 2013, we look forward to the chance to use the system to its full potential. This was a very gratifying project and all of us at K Production Services hope to continue our success by installing more DAS equipment in some of our other venues as well.’


Connecting New York’s Times Square and San Francisco, the Lincoln Highway was the first road to link the US East and West coasts. Set on a hill overlooking the Pacific, the Golden Gate Bridge and the highway is the California Palace of the Legion of Honor, home to the Florence Gould Theater, an ornate 333-seat jewel box auditorium designed by museum architect George Applegarth.

Florence Gould TheaterThe building – a faithful three-quarter-scale reproduction of Paris’ Palais de la Légion d’Honneur – is also houses an extensive collection of ancient and European art spanning more than 6,000 years. Opened in 1924 as the Little Theater, meanwhile, the venue hosts a regular calendar of concerts, lectures and theater performances. Inside, its columns, rounded walls, and domed ceilings contribute to an umpressive but acoustically challenging auditorium.

‘The room has no acoustic treatment whatsoever, and an abundance of hard surfaces,’ says Joe Orlando of Atwater Commercial Media Systems (CMS). ‘It’s highly reverberant, and spoken word intelligibility is pretty much non-existent.’ Charged with devising a sound system to address these problems, Commercial Media created the design and assisted the museum’s production department with the installation.

Entasys column‘The room works great if you’re onstage and you have a good, theatrical speaking voice,’ says John Anaya, Production Manager for the Fine Arts Museums of San Francisco. ‘But for amplified sound, the room has some very problematic reflections. In fact, we found that the best seats in the house for sound were in the very back of the theatre, while the front rows had terrible sound.’

Over the years, a succession of audio systems has failed to make a significant impact on the problem, until CMS recommended an upgrade to four Community Entasys high-performance column line arrays. A pair of Entasys full-range columns are mounted on either side of the proscenium, powered by the museum’s existing Hafler amplifiers.

‘Due to the room’s architecture we had to mount the speakers much higher than what would have been the optimal height,’ Orlando explains. ‘But the Entasys columns enabled us to angle the arrays and focus the sound downward to the seating area, and off the walls and domed ceiling. Entasys is really the only system that would have worked in that space.’

‘Of course, we were not going to put anything in here that affected the aesthetics of the room,’ Anaya adds. ‘The Entasys speakers blend into the space perfectly; they match the walls so well, we find we have to point out to people where the speakers are.

‘It has been like night and day. The clarity in the room is phenomenal.’

More: www.communitypro.com


Powering an exploded array of Fulcrum Acoustic loudspeakers in two of its aerobics studios, new Powersoft M28Q, M30D and M50Q amplifiers mark the latest audio investment at the Multnomah Athletic Club in downtown Portland. The MAC, as it is known, occupies two buildings with its the eight-level clubhouse facing directly onto Jeld-Wen Field, home of the Portland Timbers soccer club.

Multnomah Athletic ClubThe amplifiers are part of an upgrade that includes a Symetrix DSP unit, a multi-disc, multi-format player and a Crestron control system with remote control via local touchpad and Apple iOS devices. ‘The Powersoft, with enormous amount of power in a compact unit, allows us to have really nice headroom,’ says David R Garlett, Senior Design Consultant at Delta A/V Systems. ‘It’s plenty loud – that system could break the windows in there, but it is heavily limited and controlled. It sounds better than most hi-fi systems, and with Powersoft I don’t have to break the bank to get that power.’

Garlett designed the playback systems for the two rooms – one a spin class and the other an aerobics studio, which measure between 1,200 and 2,500-sq-ft. ‘The results were beyond our expectations,’ he adds. ‘It was an amazing feat to not only satisfy the aerobics instructors, staff and patrons, but management as well.’

‘We incorporated pretty much every audio DSP trick known to man,’ he continues. ‘For example, there’s a Fulcrum monitor behind the instructor that is mix-minus – it plays programme but not the instructor’s microphone. The speakers are arranged in an exploded array and they are all time-aligned, with zero being the monitor behind the instructor. When the instructor speaks there’s a very fast, zero attack, ducking about 6dB, with a release of zero. When the instructor speaks it isn’t additive to the overall SPL. So what we accomplished was a system that can run at a good clip, but no one complains that it’s loud or fatiguing.

‘There are four zones out in the main studio and a graphic control that allows them to dim a given zone should someone mention that it’s a little loud for them. They can drop that zone 10dB; the net drop is probably 6dB, because you do have crossover from other zones, but it’s enough to placate the patrons.’

Garlett ordered the Powersoft amplifiers without the optional DSP, because the system needed features only available in a dedicated outboard DSP matrix device. ‘In all other cases I do use Powersoft DSP as a fixed architecture,’ he says. ‘What are you going to buy for that price?’

Delta A/V is a Portland-based, privately held, audiovisual systems integration firm that has been providing design, engineering, sales, installation, service, custom programming and documentation of high-tech audio/video and control systems since February 1996.

More: www.powersoft-audio.com
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One of the UK’s premier concert venues, Fairfield Halls has recently completed the first part of a technical upgrade with a new sound reinforcement system in its Concert Hall.

Fairfield HallsFairfield Halls’ 1,800-seat Concert Hall is ranked as one of the best orchestral performance spaces in Europe, with an acoustic particularly favoured by chamber orchestras. It has hosted a varied programme of musical styles and events since the early 1960s – from rock bands to stand-up comedy.

The investment in a new sound system forms part of a long-term refurbishment and improvement programme, scheduled across five years and commanding a budget of around £27m. A key objective of this current phase is to attract the larger tours and top-line promoters to the venue.

‘Our Concert Hall has a long and well-proven heritage. Its acoustic quality is up there with the best – acknowledged as one of the finest in the UK,’ confirms Simon Thomsett, CEO of Fairfield Halls (Croydon) Ltd. ‘Its design benefits from lessons learnt at other mid-20th century venues such as the Royal Festival Hall, so we have this concert hall with a great acoustic, but in terms of rock and pop, and even stand-up comedy, in order to get the top-line shows and tours we needed higher quality sound reinforcement, with more consistent coverage throughout the auditorium.

‘We had reached the point where we were spending upwards of £1,000 per performance to hire in extra gear and manpower. That was not acceptable.

Yamaha_M7CLThe project has been placed in the hands of Orbital Sound , who have installed a d&b audiotechnik Q1 line array system with flown 27A cardioid subs, ground-stacked B2 subs, and a Yamaha M7CL console with DME64 mix engine. The Q1 array is complemented by a T-series centre-fill cluster, using three Ti10L d&b loudspeakers.

‘With the new system, we have a first-class amplified hall,’ Thomsett continues. ‘Modern audiences expect high-quality sound and now we can provide it, with this new installation greatly enhancing the venue’s flexibility for all types of performance, and giving us premier-league status. A further positive is that with the new system going into the hall, our other venues are receiving benefit from the knock-on effect. For example, the Arnhem Gallery is hosting STAND!, our standing-room gig space that has recently launched a monthly live-music programme, featuring new acts as well as established bands.’

The principal reason behind Fairfield Hall’s selection of the d&b audiotechnik system was its flexibility and inter-range compatibility. The main stereo system uses ten Q1 enclosures in each of the left and right hangs. These are supported by four 27A Cardioid Suns (B4 subs with rigging points) per side, with the latter hung behind the left and right arrays, to avoid any additional line-of-sight intrusion. Given the hard wooden floor of the completely open stage area, with no proscenium, it was important to keep sound off the stage to minimise unwanted reflections, and therefore contribute to the overall intelligibility. This resulted in the choice of the d&b 27A cardioid subs, to achieve a reduction of around 15dB of rear-radiated low frequency energy. A further pair of d&b B2 Subs was also supplied, and these can be wheeled out to provide additional LF capacity when required.

d&b Q-Series installation at Fairfield HallsOvercoming the intelligibility issues of the outgoing system, five d&b E6 speakers provide fill in the choir area and a further six provide front fill. The Concert Hall’s Royal Box is also fitted with two E6 speakers, while the remaining boxes – four per side above the auditorium – are each provided with one 5S speaker from d&b’s White Range. D12 amplifiers from d&b power the main system and subs, with d&b D6 amps driving the remainder.

Orbital’s design has also allowed much of the outgoing equipment to be redeployed in other spaces within the complex – the Ashcroft Theatre and Arnhem Gallery.

‘Our ethos with this project was to re-use as much of our existing equipment and technical infrastructure as was feasible,’ says Chris Whybrow, Technical Manager at Fairfield Halls. ‘We have managed to retain the analogue infrastructure, for example, re-terminating cables and updating patchbays where necessary, but keeping the analogue cabling itself pretty much intact. It didn’t need replacing, and there’s no point in spending valuable budget where it’s not required. The guys at Orbital took this approach on board from the very start, and have worked hard to help give us the best possible results within our budget, and only recommending new equipment where absolutely necessary.’

With the existing analogue cabling being re-used, the infrastructure aspects of the installation focused on the digital requirements of the Yamaha console and its associated EtherSound network, as well as the d&b Remote network for controlling and monitoring the loudspeaker systems.

Orbital’s David Bartholomeusz was responsible for the network system design, and was on site throughout the project to oversee the installation.

More: www.orbitalsound.com
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