IET takes on a rider-friendly install on a budget
When it comes to a mecca for the hottest nightlife, Winnipeg probably isn’t the first place that comes to mind. But with the debut of Blush Ultraclub, its reputation is quickly changing. The sexy and sophisticated nightclub, which holds up to 1,000 patrons in its 19,000-square-foot space, is the result of the city’s downtown revitalization program and a multimillion-dollar renovation. The venue had been vacant for the past 10 years and its renaissance serves as the center of the downtown’s west end transformation. Its ideal location across from the MTS Centre attracts a crowd of clientele after concerts and sporting events. As part of Blush’s massive inception, Integrated Entertainment Technologies (IET) was awarded the project to install a new sound system that could provide smooth transitions between the club’s live entertainment and DJ-mixed dance music.
Live Music to Dance Music
A combination of live music from headline acts and DJ dance beats from some of Canada’s most popular DJs creates a unique vibe for VIP guests who let loose on Blush’s two-level dance floor. “It is the biggest downtown dance club for live music and dance, so we needed a system that could accomplish both,” says Glen Jonatchick, president of IET and project manager. “Live music has a more dynamic range, whereas dance music has more accent on the low end. Both require full bandwidth and ultra-low subsonics, so the sound system had to be able to withstand both of those types of entertainment.”
IET has had an ongoing relationship with the club’s owners Sam Colosimo and Jack Salvaggio from a previous install at their other downtown nightclub, Empire. For that nightclub, the owners wanted live entertainment to perform in different areas of the club, from the patio to the lounge, and at the same time, be distributed throughout. “We managed that with a central DSP and gave each room its own remote control to control the music,” Jonatchick says. “I enjoy when a customer brings us a challenge and the chance to implement new ideas.” For Blush, the challenge was to design a sound system that could transition from live music to DJ music. Because budget constraints were a main issue, Jonatchick decided upon the Yamaha Installation Series, a cost-effective yet high-quality solution for this kind of sound environment.
Control In the Club
A Yamaha DME 24n processor controls 16 different speaker locations in the nightclub, including the exclusive VIP lounge. The system’s remote provides a single control to time fade between the band and DJ. “When we are in dance mode, it will turn on or off certain speakers and time delays and when we are in band mode, it will do the opposite,” Jonatchick says. Fourteen IF2115/64 speakers and four IS1218 sub bass cabinets were installed for front-of-house and DJ speakers, and two Yamaha IF2108 speakers are used for DJ monitors. Left and right speaker clusters hang from the stage and two additional speaker clusters supplement the dance floor. To accommodate Blush’s two levels, Jonatchick said he designed the system to cover the entire dance floor as well as second level.
Since the owners hope to attract high-profile musical acts to Blush, the system also had to be flexible enough to accommodate both digital and analog consoles, as well as accommodate high-end rider equipment. Although Jonatchick wanted to use a “rider-friendly” Yamaha PM5D digital console at front of house, budget constraints prevented that. He ultimately chose a Yamaha LS9-32 channel console, a powerful yet simple board to operate, which features a 22-inch LCD screen. “It’s one of the smaller digital consoles, but it’s ideal for the nightclub when they change bands and reset their last settings and very cost-effective,” Jonatchick says. For bands that prefer an analog console, a Digiflex Splitter snake is run to a new location where the nightclub can bring in a supplemental system to satisfy the rider.
“Although the system is managed with a digital sound processor, in terms of parametric equalizing and such, we still provide inline analog graphic EQ that the sound crew can play with,” Jonatchick adds. “Sometimes they just feel more comfortable reaching for a graphic EQ and making their changes on it.”
The monitor gear includes a Yamaha MG32/14 FX mixer, five Yamaha C112V floor wedges (and a Yamaha C215V for drum monitor) powered by Yamaha P3500 amplifiers and controlled by the DME 24n processor. Six channels of Yamaha Q2031 equalizers are designed for the user who wants to customize each mix. A total of 17 Yamaha P Series amplifiers (three P3500s and 14 P7000s) were installed.
Location, Location, Location
Because the nightclub’s massive renovation was practically a new construction, the install kept getting pushed back and IET had to modify plans to suit the construction schedule, Jonatchick said. “The install itself isn’t that long of a process, we could do it in two or three weeks, but because you’re working on a new construction site, everything has to lead you — electrical installations have to be in place, rooms have to be in place, etc.”
In fact, three days before the install, Jonatchick and his crew had to move their entire equipment location to a mechanical room. “We had some excessive cable runs, but it’s the only thing we could do to accommodate them,” he noted. The FOH position kept getting moved to different locations as well. Initially, the plans were to create a small balcony overhang on the main dance floor for the FOH crew and DJ. This location was ideal from a sound mixing perspective because it was within the speaker cluster and very close to the stage. The position was moved three times, with the final position located deeper upstage and off to the side.
The VIP Treatment
A primary concern for the nightclub’s owners was ensuring that cosmetic considerations were taken to ensure the sound system wouldn’t interfere with the stylish interior design. “One of the biggest problems we had was the stage right speaker cluster, which was also the location of the stage right VIP lounge,” Jonatchick says. “This is a very important area of the club because it overlooks the stage, but we also needed the cluster position. We had to compromise and move the cluster further back upstage than we would have wanted.” The speakers had to be re-angled, including one aimed at the VIP lounge that had to be DSP controlled. “I didn’t know how loud it would be in the VIP lounge with that outside speaker angled toward the room, so we decided to control that one discreetly. We figured we’d protect ourselves from potential volume complaints down the road and allow them the flexibility to control the volume.”
The club premiered with a house band to work out any kinks before high-profile acts perform. The opening night went smoothly and Jonatchick said everyone was pleasantly surprised with the sound system. “That’s something you usually expect with a higher-end speaker, but when you hear compliments from musicians and peers in the industry, that’s a compliment to the speaker selection.”
Blush’s motto is “If you hear it in New York or Vegas, you’ll hear it here.” The sound system, no doubt, plays an integral role in attracting high-profile acts from the East and West Coasts to Winnipeg.
CREW
Sound Company: Integrated Entertainment Technologies
Project Manager/Audio Supervisor: Glen Jonatchick
FOH Engineer: Michael Matthews
Audio Installer: Dan Heinrich
Install Manager/Stage & Dance Floor Lighting: Tim Hrabchak
Install Manager Rigging: Doug Kiddel
Rigger: Barry Kraft
GEAR
Snake & Splitter: 1 Digiflex Split Snake 150 VLS32-SP-150
DJ Mixer: 1 Rane TTM 57SL Mixer
Remote Controls: 1 Yamaha Control Panel CP1SF, 1 Yamaha Control Panel CP4SW
Amps: 14 P3500S amplifiers, 14 P7000S amplifiers
Bass Enclosures: 4 Yamaha IS1218 sub bass cabinets
House & DJ speakers: 14 Yamaha IF2115/64
DJ Monitors: 2 Yamaha IF2108s
System Controller: 1 Yamaha DME 24N
System Controller Card: 1 Yamaha MY8ADDA96
FOH Console: 1 Yamaha LS9-32 mixing console
Monitor Console: 1 Yamaha MG32/14FX
Monitor EQ: 3 Yamaha Q2031Bs
Monitor Enclosures: 6 Yamaha C215Vs
U Brackets: 2 Yamaha UB2108s, 1 Yamaha UB2115
Suspension Hardware: 1 Yamaha HAF3-2115, 3 Yamaha HAF2-2115s
Stage Mics: 6 Shure SM58-LC Cardioid dynamic mics, 6 Shure SM57-LC Cardioid dynamic mics, 1 Shure BETA52A microphones 3x A56D drum, 3 Shure KSM109/SL Cardioid studio condenser mics
Mic Stands: 8 K&M 210/8-BLACK and 8 K&M 259-BLACK microphone stands
