After more than two years in construction, the Wallis Annenberg Center recently opened with an invitation-only gala and concert by Natalie Cole. Beverly Hills’ first performing arts centre, it features the 500-seat, proscenium-arch Bram Goldsmith Theater where world-class theatre, music and dance performances are supported by the venue’s L-Acoustics loudspeaker system.

The sound system was designed and installed by Electrosonic Inc, which handled A/V design and integration for the entire complex, including the adjacent 1933 Beverly Hills Post Office, fully restored and repurposed as a grand lobby, cafe, gift shop, classroom and office space, and home to the 150-seat Lovelace Studio Theater.

The L-Acoustics Certified Provider hung an array of three ARCS Focus and one ARCS Wide on a two-line winch above the centre of the theatrical stage. The compact array can fly from stage level to show trim at the top of proscenium, as well as fly out of sight above ceiling reflectors at the catwalk level when unnecessary for acoustic or orchestral performances. The rest of the sound system is practically invisible – coaxial 12XT enclosures are hidden in the proscenium on either side of the stage, and two more are flown above the ceiling reflectors as balcony delays. Also suspended above the reflectors are four individually flown SB18i subs for low-end.

For cinematic events, the venue has a full 7.1-channel surround system built around L-Acoustics’ smaller XT series products. Eight 8XTi enclosures are mounted in acoustically treated wall recesses along each side of the room and covered with removable acoustic panels, and a total of four tiny 5XT enclosures are similarly hidden along the back wall of the balcony and deliver rear-balcony coverage.

Two LA8 and eight LA4 amplified controllers housed in a custom amplifier rack in the control booth power and process the entire system via LA Network Manager software.

‘When we first got involved with this project way back in 2008, we knew even then that we wanted to have an L-Acoustics system in the main house,’ says Electrosonic Design Consultant, Steve Coe. ‘We originally looked at Kiva/Kilo and ARCS II, and then Kara as well. But as the project evolved, ARCS WIFO made its debut and was perfectly suited to the space. Having personally tested the Goldsmith’s new system with a string quartet, classical pianist, jazz band and rock band, I feel that it achieves such a level of purity and clarity – as well as lovely warmth – that many other manufacturers seem to lack. I’ve always loved L-Acoustics in the theatrical setting and this project absolutely confirms that.’

‘Our L-Acoustics house system works very well for producing a sound and expressiveness within the expections of our artists and guest companies, without overwhelming our audiences,’ says Wallis Annenberg Center Director of Production, James D’Asaro. ‘The system doesn’t feel like it has to “pierce” before it has real presence and power, but is well balanced in a way that allows it to become virtually invisible when we don’t want to be aware that it is doing something.’