“The show must go on” still rings true every day in thousands of theaters and performing arts centers worldwide. However, these days, savvy facility directors realize the importance of a great sound system, especially as audiences — accustomed to hearing high-performance audio systems in live concerts and local bijous — are putting demands on facilities to provide a first-class performance experience, where intelligibility and musicality are just as important as rock ‘n’ roll SPL’s. With than in mind, we present this look at some recent installation projects — both new and upgrades — that reflect the current state of the art in venues both large and small.
Louise M. Davies Symphony Hall
San Francisco, CA
The home of the San Francisco Symphony (SFS), Davies Symphony Hall is the first performance venue to permanently implement Meyer Sound’s new LEOPARD and 900-LFC system. While highly regarded for orchestral acoustics, the hall’s warm and reverberant characteristics had posed challenges for amplified events, such as film series, pop concerts, Broadway favorites and leading-edge contemporary music.
“Regardless of content, sound reinforcement should feel natural, undistorted, defined and clear,” says SFS operations director Andrew Dubowski. “LEOPARD is an exponential improvement in how we’re able to offer amplified concerts. The system can fool me into thinking the sound is not really amplified, even when I know it is — that feels like magic.”
LEOPARD replaces a central above-stage loudspeaker cluster installed in the 2,743-seat venue in 1992. The new configuration includes twin arrays of 14 LEOPARD line array loudspeakers and three 900-LFC low-frequency control elements per side.
“It’s extremely comfortable and reassuring, in that I’m not getting boxed in by the system and its capabilities when I’m mixing,” says head sound engineer Hal Nishon Soogian. “The system isn’t fighting me. If I need some higher end, it doesn’t get brittle. I use very little EQ on my inputs. I try to pick the correct mic for the correct instrument and do very little to it, so you get no coloration.”
Stage electrician Jim Jacobs adds: “It’s exciting, after so long trying to solve some of these problems, to have a system that puts sound presence so clearly in every seat.”
- Inside The Davies Symphony Hall
- Capacity: 2,743
- Key Components: Meyer Sound LEOPARD/900-LFC rig
- Installer: In-house
Ordway Center Concert Hall
St. Paul, MN
Built at a cost of more than $40 million and the new home of the St. Paul Chamber Orchestra, the Ordway Center for the Performing Arts’ Concert Hall features three DiGiCo mixing consoles — an SD9 at FOH, an SD9B at the monitor position and another SD9B in the studio — all on an Optocore fiber-optic network.
The 1,100-seat Concert Hall was built in almost the exact same footprint as the former McKnight Theatre, torn down to make way for the new music performance space. The hall is intended to relieve some of the scheduling pressure on the Ordway’s 1,900-seat Music Theater, enabling the larger venue to accommodate longer performance runs, such as operas and Broadway-style productions.
“We have an SD9 at front of house for when we do electro-acoustic work,” says Andy Luft, the center’s production director and construction project manager for the new Concert Hall. “It’s on an open mix porch — a great place to mix — dead center behind the people on the first balcony. So you can see the room and the speaker systems in a good perspective.” Luft repurposed the McKnight’s original Meyer Sound speaker system for the new space for the occasional events that require sound reinforcement.
“We had to put our money into infrastructure, so we went down the path of fiber-optics,” says Luft. “DiGiCo has a good deployment of Optocore, and the SD software and operating system is extremely flexible and absolutely exploitable.” Audio Logic Systems of Eden Prairie, MN supplied the consoles and fiber system.
“We have a DiGiCo SD-Rack off stage left, and an SD-Mini Rack up in the catwalk, where a remote Grace Design preamp feeds directly into the local rack,” Luft continues. “Primarily a classical music venue, the front of house console often has to be turned off, as it has a fan. So we’re always taking out parts of the loop but having to reestablish it. We worked with Audio Logic Systems to install and ensure that the fiber loops were working correctly.”
In addition to the 7.5 miles of conduit and 750,000 feet of electrical cable that was installed in the new venue, 150,000 feet each of fiber-optic and high bandwidth copper were also run, along with 375,000 feet of Cat-6 cable. “We can now connect the entire facility through fiber-optics, including the loading dock, where there is also isolated power for recording trucks, if desired,” Luft elaborates.
Tim Carl of Minnesota-based HGA Architects and Engineers designed the Ordway’s new addition. Meanwhile, Paul Scarborough and Chris Blair (of a-kus-tiks, Norwalk, CT) consulted on the Concert Hall’s acoustics and studio design, while Anthony Nittoli and Jordan Lytle provided electroacoustic consultation.
Inside the Ordway Center Concert Hall
- Capacity: 1,085
- Key Components: (3) DiGiCo SD9 consoles; Optocore fiber network
- Integrator: Audio Logic Systems
The Algonquin Theatre
Huntsville, Ontario, Canada
The Algonquin Theatre (Huntsville, Ontario, Canada) is a 10-year-old, 400+ seat venue that hosts performances from comedians to orchestras, and elementary school plays to musical artists of international acclaim.
The theater recently installed a Yamaha CL5 digital console at FOH (purchased through Westbury Show Systems), and moved its Yamaha M748CL to the monitor position. The two consoles connect to the CL5 head-amps via Dante networking cards and switches. Theatre technical director Chris Boon, and assistant tech Tyler Ayles installed the system.
“The M7CL48 has been a great, solid console for us,” states Boon. “I felt it was time to upgrade the mix position at FOH and update the analog console located at monitors.
While researching digital consoles, a touring group came into the theater with one of the first Yamaha CL5’s to hit the Canadian market, giving Boon a chance to test drive the console. “All functions were well laid out and not cluttered,” he says, adding “ease of operation is important for a venue that does numerous one-off shows with touring engineers. The room warmed right up. There is a definite step-up in the sound quality of the head amps.”
The system network was installed as a Star Topology (LAN) to allow the use of redundant primary and secondary lines for each device. Two Cisco SG3000 Gigabit switches were used at FOH along with one Yamaha Ri8-D input box and one Ro8 output box and another two Cisco SG3000s at monitors to connect stage boxes and consoles. The M7CL was outfitted with three Dante MY16-AUD 16X16 cards (48 channels) to allow connection to the network, with one Rio3224-D I/O box and two Ri8-D input boxes.
After using the board, Boon decided “it was the right console for our venue. It has been a great system for us, including the ability to be able to record 64 tracks. One of my favorite user functions is the Custom Fader Bank selection that allows me to instantly reorder faders. The Premium Rack is another favorite, as is operating the console remotely via iPad using the Yamaha StageMix app.”
Boon also appreciated the included Steinberg Nuendo Live recording software with the Dante Virtual Soundcard software that enables a computer to access tracks via Ethernet by simply plugging into the network. “I also liked the fact that I could plug a USB stick into the console to instantly handle 2-track recording, often requested by performers while we are archiving the show.”
The theater’s existing main P.A. was also expanded — now with four JBL AM7315/64 biamped 3-way speakers feeding the L/R orchestral seating, two JBL AM4212/64 center fills and two JBL ASB 6128 dual-18 subwoofers through the proscenium wall at floor level below the main L/R clusters. All are powered via Crown CTs-Series amplifiers.
Inside The Algonquin Theatre
- Capacity: 400
- Key Components: Yamaha CL5, JBL AM7315/64 mains, Crown CTs amps
- Supplier: Westbury Show Systems Ltd.
- Installer: In-house
The Ranch Concert Hall and Saloon
Ft. Myers, FL
Fort Myers’ newest and largest event center/concert venue — more commonly known as The Ranch — recently hosted country artists Josh Turner, Joe Nichols and Tanya Tucker. The venue is a leading attraction in the area and wanted a high performance sound system.
Contracted to provide sound for The Ranch was Ft. Myers-based Tech-Tronics Sound, Lighting and Staging, a design / build firm for the AV install market, but also provides full event production services including sound, lighting, staging, tents, generators and more.
“As The Ranch hosts a variety of top artists, it was essential that the house sound system be a solid, concert-level setup,” says Tech-Tronics owner Arthur “Rusty” Roepke. “After evaluating the room, we deployed a system consisting of D.A.S. Aero 12A powered two-way, mid-high line array modules and LX-218A powered subwoofers.”
Eight Aero 12A’s — four enclosures each for the left and right hangs — provide the mains, with another two Aero 12A’s roughly 60 feet out from the main stage as a delay system. Eight LX-218A subs are positioned under the stage.
“There were numerous considerations that went into our decision to deploy D.A.S. equipment,” Roepke reports. “For starters, I’ve always been impressed with the D.A.S. Audio’s sound. It’s clear, music reproduces very naturally and, as a result, people both on stage and in the audience hear the music the way it was intended. I’m also impressed with the Aero 12A’s dispersion characteristics. These loudspeakers have good horizontal dispersion and solid vertical throw to ensure even coverage throughout the space. Further, the integrated rigging hardware is well designed, so flying and making adjustments to the equipment is that much easier.”
Roepke also is a fan of the powered, double-18 subwoofers. “The LX-218A delivers a big, full sound you can feel. And since the entire system is powered, we didn’t have to deal with finding a suitable home for a rack of heavy power amps.”
And so far, the system has performed above and beyond everyone’s expectations. “It’s been terrific,” he added. “The artists and their engineers have been very complimentary and our client has been equally pleased.”
Inside The Ranch Concert Hall
- Capacity: 1,800
- Key Components: D.A.S. Aero Series 2 mains, LX-218A subs
- Integrator: Tech-Tronics Sound
- Designer: Tech-Tronics Sound
Homburg Theatre
Charlottetown, Prince Edward Island, Canada
Charlottetown’s Confederation Centre of the Arts, Prince Edward Island’s provincial capital, was built in 1964 for the national centennial, but had been showing its age in recent years. However, its centerpiece Homburg Theatre has just undergone a renovation, with new balconies, DiGiCo SD7T (FOH) and SD10 (monitor) consoles and expansion to its existing L-Acoustics sound system.
Installed in 1999, the main rig used L-Acoustics ARCS enclosures in L/R stacks plus a center cluster, with four stacked SB18 subs and five compact MTD108a coaxial front fills and 112XT wedge monitors. Two ARCS Wide per side were later added to cover the upper balcony.
This system has now been considerably enhanced with the addition of 20 Kara(i), the install version of L-Acoustics’ Kara touring enclosures, flown 10 per side on either side of the center cluster. Four SB18 subs per side are hung next to the new speaker arrays. The entire system is powered via L-Acoustics LA-Series amplifier/controllers. Toronto-based dealer Westbury National supplied all of the new audio gear through PRG Toronto.
“The new system has made quite a difference,” says Confederation Centre head of audio Kevin MacLean, who installed it with the assistance of his predecessor, Ron Gorveatt. “We now have a proper line array system, and, with the center cluster, the theater can easily move between using just the left and right hangs for music and adding the center cluster for speech intelligibility for theatrical productions. Also, our new consoles are intuitive and very flexible for any FOH or monitor engineer to use. Literally, any touring music or theater act can just get off the plane or bus and come in and play.”
MacLean does acknowledge that money can be an issue. “Budgets are always a consideration, but what we were able to accomplish with the budget we had says a lot about L-Acoustics’ value. We have a true multipurpose sound system that perfectly matches this multipurpose theater and good sound is critical to helping us continue to be successful.”
Inside The Homburg Theatre
- Capacity: 1,100
- Key Components: L-Acoustics Kara(i), DiGiCo SD7T, DiGiCo SD10
- Supplier: Westbury National / PRG
Sheyenne High School Theatre
West Fargo, ND
The West Fargo Public School District recently transitioned a ninth grade center into Sheyenne High School to accommodate the rapidly increasing population in the area. Additions to the building included a new performing arts space complete with an EAW QX Series sound system. The district worked with Fargo- and Bismarck-based Tricorne Audio to install the new system.
The room, which is wider than it is deep with a rounded back wall, features fan shaped, graded seating that can accommodate up to 600 people. Acoustic clouds above the proscenium provide necessary absorption, making it an acoustically pleasing space.
The Tricorne team (including Dallas Anderson) designed a left-center-right system using EAW QX Series speakers under EAW UX3600 DSP control. Single QX326 loudspeakers hang to the left and right of the stage, while a pair of QX396 speakers cover the center of the room. Low-end is supported by a single EAW SB528zi double-18 sub situated above the proscenium.
“I can’t think of a better loudspeaker for applications like these,” Anderson says. “Many folks might have put in a line array, but when a room is wider than it is deep, I don’t see the benefit of that. The QX300 Series does a fantastic job. The system has concert-capable output while being compact, and it sounds phenomenal.”
The compact, two-way QX326 and QX396 loudspeakers both have ultra-efficient HF compression drivers with a 120-by-60 and 90-by-60 degree CD horn. Four phase-aligned 10-inch woofers arranged as vertical and horizontal pairs leverage beneficial interaction based on their spacing to extend pattern control. The QX300 Series loudspeakers’ broadband pattern control helps direct and manage sonic quality in the space.
“We were able to provide the school with a much more musical, sonically clean system with far fewer components than a line array and at the same or less cost,” concludes Anderson. “The school comes out ahead with the audience being the real winners.”
Inside The Sheyenne High School Theatre
- Capacity: 600
- Key Components: EAW QX Series
- Integrator: Tricorne Audio
The Coach House
San Juan Capistrano, CA
For more than 30 years, The Coach House Concert Theatre in San Juan Capistrano has hosted a roster of regional and international artists. Until recently, the 480-seat hall struggled with a notoriously poor sounding room. As ESP Management’s Brian English explains, the room’s acoustical challenges have been legendary.
“The room is very difficult,” English begins. “It has a low ceiling, and the stage is asymmetrically placed, so there’s a larger seating area at house left than at house right. The areas near the bar are under a low ceiling because of VIP booths upstairs. It’s difficult to cover the place evenly. The house mix position is up in the balcony where the engineer was out of the coverage area and couldn’t hear.”
English collaborated with Coach House management and Renkus-Heinz’s Ralph Heinz to design a new sound system based on the digitally steerable IC2 from Renkus-Heinz.
“A lot of acts specify a line array,” he notes. “But the ceiling is so low, you can’t do a conventional line array.” English and system installers DJE Sound and Lighting of Lake Forest, CA flew four clusters of two Renkus-Heinz IC2 steerable arrays per cluster, mounted close to the ceiling to avoid sightline issues. “We were able to focus each array exactly where I wanted them to go. You can have up to four steerable beams out of each enclosure, so we could take one tight beam and shoot it right through the windows of the VIP area without it splashing all over the wall. We focused a beam at the upstairs mix position, so for the first time in 30 years, the engineer can hear the P.A.”
The main L/R system on the downstage corners fires straight out. The secondary left/right cluster is 10 feet upstage, toed out at a 45-degree angle, focused as outfills. “If you walk around the room past the four clusters, you will hear left-right-left-right, so you’re always hearing the stereo image in the seated areas,” English explains. Onstage, 10 Renkus-Heinz RH123 cabinets provide clear stage monitoring in a low-profile, unobtrusive package.
Six R-H IC212S-R subs and two aux-driven IC118S-R single-18 subs extend the bottom well below 30 Hz. “The stage is a four-inch-thick concrete slab, so low-frequency buildup and resonance weren’t a problem,” says English.
“I’m impressed with how well we covered the entire place,” says English. “I can’t name another system that would have done what the Renkus-Heinz system did. Its footprint didn’t interfere with sightlines and we are now able to hit SPL levels they never heard in that room before.”
Inside The Coach House
- Capacity: 480
- Key Components: Renkus-Heinz IC2
- Integrator: DJE Sound and Lighting
- Designer: Brian English
Tropicana Theater
Las Vegas, NV
The Tropicana Theater inside The New Tropicana Las Vegas is the home of the Raiding the Rock Vault musical revue, featuring a supergroup of rock royalty (from bands such as Whitesnake, Bon Jovi, Heart, Survivor, Quiet Riot, Asia and Badfinger) and a set list that includes classic rock anthems.
Working with the show’s production manager Keith Marks, Bose Professional personnel took a hands-on approach to system design, using Modeler software to fine-tune the configuration to ensure even coverage throughout the space. Bose then collaborated with the IATSE union to install and tune the system.
The venue seats approximately 1,200, with one level of seating, although an upper area with lighting and other equipment creates a somewhat under-balcony area. Booth seating at the front of the room offers a VIP experience.
Installed Bose products include two RoomMatch arrays with eight modules each, flanked by a five-module RMS215 bass array; and eight RMS218 subs under the stage thrust. RoomMatch single-array modules RM9040 with RMS215 subs are used as stage side fills, while RoomMatch Utility RMU208 speakers provide stage monitoring for performers not using in-ears. Powering is via 31 PowerMatch PM8500N amps with three ControlSpace engineered sound processors using Dante networked audio.
With more than 100 shows already under its belt at The New Tropicana, the system has been drawing rave reviews from the production staff, band members and the audience alike. Keith Marks, whose credits include work with Styx, Night Ranger and others, has been particularly impressed. He stated, “It is a real treat to hear this production on the Bose RoomMatch system. With years of experience as a front of house engineer, I know what to listen for, and the system is very transparent — I can feel and hear the kick drum and every other element in the mix.”
Tony Tauber, director of technical operations for The New Tropicana, added, “The numbers in the show are iconic with signature vocals. With the RoomMatch system, we are able to get excellent clarity on the vocals above the instrument levels coming from the amps on stage. Overall, the band is very happy — particularly with the low-end response; the ground-stack subs we are using as part of the RoomMatch system are a great way to deliver the bass. The band and production manager are extremely pleased with the rig.”
Inside The Tropicana Theater
- Capacity: 1,200
- Key Components: Bose RoomMatch speakers
- Designer: Keith Marks and Bose Professional
Denver Center for the Performing Arts
Denver, CO
The Denver Center for the Performing Arts (DCPA) is the nation’s largest non-profit theater organization and is home to six theaters, all located at the massive Denver Performing Arts Complex, with another theater across the street at the Newman Centre for Theatre Education. Looking to add a new digital console in anticipation of an original production called The 12, the DCPA recently purchased a 32-fader Studer Vista 1 digital audio mixer.
The 12 is a rock musical that follows the 12 disciples as they wrestle with fear, uncertainty, anger and love in the days after their Teacher’s death. Held in the 770-seat Stage Theater, The 12 put the Vista 1 to the test as the front of house console.
The Vista 1 is a compact, all-in-one digital console, with the control surface, I/O system, DSP and power supplies all contained within the board, plus 32 mic/line inputs, 32 line outputs and Multi Mode MADI. An additional Dual MADI card is available for remote stage boxes.
“The 12 required more sound support than is usually required for our productions, and was designed by Zach Williamson,” said John Pryor, Director of Sound for the Theatre Company division of the DCPA. “Zach has worked with Studer in the past and wanted to design the show on a Studer console, so he encouraged us to purchase the Vista 1. But we also listened to the advice of several other colleagues in the industry who recommended Studer and we purchased the Vista on the on strength of a product demo given to us by [Studer’s] Rob Lewis.”
“The opening went very well and we are entirely pleased with the Vista 1,” Pryor noted. “We are considering the purchase of two more Vista consoles over the next two years, replacing our legacy analog consoles in each of our primary theaters.”
Inside The Stage Theater
- Capacity: 770
- Key Components: Studer Vista 1 console
