For a person coming from the field of live performance, the change from daily one-offs to the world of permanently installed audio systems can be a true challenge. With a traveling system, one can always make allowances for last-minute changes and additions without necessarily ruining the master plan or design of the system, whereas with an installed system one must ensure that the design is correct and the plan carefully followed. Not to say that one should be cavalier in regard to the design and installation of a road-ready system, but in the event of any needed changes, it is always less expensive to bring in the flown speakers with a traveling rig than it is to open a wall and change a speaker or cable run. I have installed a few systems into clubs, and while some club owners plan in advance, there are those who realize they need an audio system only after the new paint has dried on the walls. This, of course, makes for a complicated situation. Since nobody wants to spend the extra money to rip out their finished décor to run speaker and electric cable, the design of the system becomes flawed from the very start, often leaving cables snaking up and around wall seams and across ceilings. While it all manages to operate, it is not aesthetically pleasing as an installed system. In view of the fact that most audio designers rely upon their installs as showpieces for acquiring new work, this may not be the place to send a perspective client.
It is nice when a client designs his space with the sound already added into the blueprint from the beginning, and in most cases this means that as the audio provider one must work with the general contractor in regard to installation of the system. This requires that the audio design be well thought out and correctly conveyed to the general contractor, since the "GC" will not take kindly to undoing finished work to reinstall a speaker hang or cable run. These changes are costly to the client in both time and money, especially if an opening date is planned.
Many audio design firms who are familiar with dance clubs and restaurants make the mistake of hanging speakers in the wrong place when called upon to provide for a live sound reinforcement system. Recently I was called in to consult a client regarding her design for a bi-level space, which included a party/bar performance space on the first level and a theater space on the lower level. The client said that she already had a blueprint drawn by a design company, but did not want me to see it until I told her how I would design the space.
After I told her my ideas she showed me the blueprint. Basically, my ideas coincided with the blueprint, except for the theater area, where I suggested a different speaker hang. The original design had the speakers flown on either side of the stage, but on the blueprint they were positioned upstage left and right. All live audio engineers know that placing the systems speakers upstage is not optimum because it then places all performers with open microphones in front of the speakers rather than behind them, leading to possible problems with gain structure. There were no subwoofers built into the design and I suggested that they should consider building them in just as an option. They could always turn them off and if they were called for by a specific performance they would then be prepared to activate them.
My final suggestion was in regard to the snake. The design called for a 24-channel snake with four returns mounted about four feet high on the stage right wall. I could see no reason for this particular design and
suggested that the snake be split into four groups of six with each six pair mounted about six to 12 inches from the stage floor in three separate locations, mid-stage right, upstage center and mid stage left. I also
suggested that the final six channels be mounted downstage center on the front of the stage just below the lip. While none of the changes I suggested were drastic, I am sure they will make a huge difference as the space develops and grows.
When designing a permanent install, regardless of the type of venue, it is important to think ahead to the future of the space. I have started seeing a much higher level of sophistication in most installed systems, and I think it's great. One club in Manhattan operates mostly as a dance club, but they also have live performances. The vertical array system is flown in different areas of the room on the back walls around the dance floor, and this of course is not optimum for a live performance. The difference in this design is that two of the arrays are flown stage left and stage right of the performance area, and these arrays are on a pulley system that allows them to be positioned properly for a live performance. The other speakers can then be turned off, thereby leaving a great point source system for the bands. The subs that are placed around the room can also be zoned so that they are used in conjunction with this system. The owner did not want to invest in a monitor system or large frame consoles, and hires them to be brought in for the shows when needed. Knowing that power would be required for these live shows, the owner built in a set of Camlock connectors on the stage left wall that provides easy access to a 100A three-phase power source.
No matter the type of venue, whether it is a restaurant, theater or house of worship, audiences and performers have become more discerning regarding the audio portion of a presentation. Many venues operate on multiple levels and with a variety of usages. A well-designed system has become a necessity and not just an afterthought, but even a well-designed system will not function at its best unless there is a qualified operator. I have been amazed at how many clients, while designing their fabulous installs, forget that these systems need caring and proper operation to make them work well. Many times the installation company can care for the system, but if the system is to be used on a daily basis, it is important for someone to be aware of its capabilities and functions. Many clients seem to believe that a great system should run and care for itself; it is important to let them know that this type of mindframe is akin to thinking that the bar does not need a bartender. It should be made clear from the beginning that the audio system needs care and maintenance and that an "audiotender" should be hired for the job.
