One upside (if there is one) of Covid-19 on theater and performing arts spaces is that shutdowns give the venues time to undergo facility upgrades. With that in mind, we present six recent installation projects. Each takes a different approach, proving there are numerous solutions to any audio challenge — large or small — for any performance space.
The Opera House, Toronto, Canada
Over the years, Toronto’s The Opera House went from its vaudeville roots to hosting acts such as Metallica, Foo Fighters and Eminem. Recently, the 113-year-old theater installed Adamson CS-series speakers and amplifiers. “We were one of the original (Adamson) Y-Axis partners and that system was rock-solid for the last 20 years. When the opportunity came to replace it with the new CS-Series, we had to go for it, and it’s very impressive,” says theater owner/GM Athena Ellinas-Towers.
Main stereo arrays of 10 Adamson CS10 are on each side of the stage, along with sub arrays of 12 CS119. Front fills consist of a stereo pair of CS7p 70×40 flanking the stage and firing in. The under and upper balcony areas each have separate zones of CS7p, with three 70×40 below the balcony and a stereo pair of 100×50 for the upper balcony, where the ducting shaded the arrays.
The system is networked using a pair of Extreme Switches and Adamson NDS to manage the redundant network wiring scheme and analog backup. This provides two layers of redundancy, primary and secondary networks from the Gateway at FOH and analog from the same source on discrete cabling to the stage.
“Having the new software and Adamson Gateway at FOH has changed my life,” says the venue’s FOH engineer / technical director Dan Cumming. “The functionality and flexibility opened a whole new world of possibilities to me; truly giving me the freedom to design and contour the system to fit my needs.”
The Adamson Gateway offers a 16-channel input matrix mixer, with 16 channels of powerful DSP, making it not only the control center for the entire system, but also the perfect way to switch between house and guest consoles. It can accept up to 16 channels of redundant Milan AVB or use eight XLR inputs to provide either 16 AES/EBU or eight analog signals. The network I/O on the Adamson Gateway has six Neutrik etherCON and two Neutrik opticalCON connectors to make it a 4-port redundant switch.
“One of the main upgrades on our end was installing rigging points so we could hang the new system. Using Adamson’s optimization feature smoothed the response in the room dramatically,” says Cumming. “My favorite part is it doesn’t add any latency to the system.”
The Opera House, Toronto
- Capacity: 950
- Key Components: Adamson CS-Series
- Integrator: In-house
War Memorial Opera House, San Francisco, CA
San Francisco’s War Memorial Opera House just upgraded to a complete audio-over-IP infrastructure with two Lawo mc2 audio production consoles and related I/O. The venue acquired its first Lawo console, an mc256 MkII, in 2015, for post-production use. It was a good testing ground, as the tech staff looked to replace its previous, non-networked console.
“The new consoles needed to be native RAVENNA and made with the quality and detail required by opera and symphonic music,” says SF Opera’s master A/V engineer Doug Mitchell. “We chose Lawo in 2015 because of its RAVENNA audio capability. We had been using Merging Pyramix for multi-track capture and post-production mixing since 2007, and using Horus and Hapi AD/DA interfaces for our remote mic pre’s since 2012. Integrating that first mc256 MkII into our infrastructure made connectivity much simpler.”
The goal of the new install was to bring SF Opera’s live, broadcast and post audio facilities within a 96k Hz infrastructure, including an mc256 MkIII console with redundant A_UHD Core for the fifth floor sound booth, along with A__stage64 and A__madi6 stageboxes, a Lawo V__pro8 video processor and a Power Core RP with VisTool RP remote control for rehearsal and “god” mics. At orchestra level, an mc236 MkII audio production console provides FOH sound. Two Arista 7020 switches manage the system backbone.
A second goal — integrating the FOH console with the main sound console — was accomplished, as both new consoles now share all sources. Outputs feed two DirectOut Prodigy.MP’s via RAVENNA and are matrixed prior to speaker distribution.
“One challenge with the previous equipment was lack of DSP, which required a lot of outboard processing gear,” Mitchell explains. “We had previously installed AoIP infrastructure with our first Lawo console, so it was easy to replace the old stageboxes with the Lawo A__stage64 using existing wiring and add the Arista 7020 to tie the consoles, A_UHD cores, A__stages64 units, A__madi6 and Power Core.
“It went together very easily,” Mitchell continues. “We have two Horus with 64 mic pre’s in the orchestra pit, one Horus with 32 mic pre’s for RF mics, 16 mic pre’s for itinerant use DSL, one Hapi with eight mic pre’s in the ceiling for hanging mics, and a portable Horus with 32 mic pre’s for special events. The ability to easily share all the Merging pre’s and the A_Stage units with both mc256’s, the mc236 and the Power Core shows the beauty of an all-IP audio network.”
Another advantage of the new Lawo system is its extremely flexible workflow. “We share the theater with the San Francisco Ballet, and we have very similar, yet different needs,” says Mitchell. “Now all we need to do is change out some mics, recall a different snapshot in the mc256 MkIII, mc236 MkII and the Power Core, and we’re ready to go.”
San Francisco War Memorial Opera House
- Capacity: 3,006
- Key Components: Lawo mc2 digital consoles
- Integrator: In-house
- Designer: Doug Mitchell
Miltinis Theatre, Panevėžys, Lithuania
Audiotonas recently won a tender to renew the audio system at the 400-capacity Juozas Miltinis Theatre in Lithuania. Situated in Panevėžys, the fifth largest city in the country, the Grand Hall has been upgraded with a Martin Audio Wavefront Precision (WPM) line array.
According to Vytautas Stasiukaitis, Audiotonas chief audio engineer, the venue’s 20-year-old, point-source P.A. system was “not acceptable by today’s standards. The theater wanted a high-tech sound system in which performance features could be optimized according to the architecture of the room,” he explained. “As the most cost-efficient system that met all the theater’s requirements, Wavefront Precision was the way to go.”
This was the facility’s first experience with Martin Audio, and the Miltinis Drama Theatre’s sound engineers were impressed. “This was particularly the case after we installed and tuned the system with DISPLAY software,” continued Stasiukaitis. “The intelligibility, consistency and frequency response were outstanding throughout the entire audience area. We set the back wall as a ‘Hard Avoid’ area because there was no acoustic treatment on the wall and that helped to maintain excellent audio performance with minimum reflections.”
The Grand Hall itself is single tier with raked seating. “We saw this as a perfect opportunity for a WPM installation,” Stasiukaitis observed. “We provided 12 modules per side, and did not need front fills — the location of the hangs itself and the quantity of modules ensured coverage of the front rows. Also, the enclosures’ size and overall performance made this the perfect choice.”
The mid-highs were underpinned by six SX118 subwoofers, with custom hardware enabling them to be flown near the main hangs. “Rear rejection was great, even in low frequencies, thanks to the cardioid setup,” he confirmed.
In addition, CDD8 compact coaxial speakers (two per side and two each at the rear of the auditorium) handle theatrical effects surround. Finally, four Martin Audio XE300 were provided for reference monitoring along with a stage system comprised of four CDD12 coaxials and an SX118 sub. The main P.A. runs on a pair of iKON iK42 amplifiers. Five additional iK42 drive the subs, stage PA, stage monitors and surround speakers.”
The overall system upgrade also includes a new mixing desk, stageboxes, mics and audio editing software, with all audio distribution via Dante. The amplifier racks were split into two sets in order to keep the same cable lengths running to the left and right side hangs.
According to the theatre’s audio engineer, Saulius Požerskas, the team is delighted with the system “as it sounds very crisp and clear throughout the entire audience area, and the overall experience for audiences is great.”
Juozas Miltinis Theatre
- Capacity: 400
- Key Components: Martin Audio WPM
- Integrator: Audiotonas
- Designer: Vytautas Stasiukaitis
Erindale Theatre, Canberra, Australia
Due for a complete audio overhaul, the Erindale Theatre recently collaborated with integrator CMI to outfit the facility with JBL Professional BRX300 line array systems for pristine sound, broad coverage and easy setup and reconfiguration.
With 443 seats, the Erindale Theatre is the largest theater space south of the Canberra central business district. Featuring a full fly rigging system for set changes, an acoustically optimized orchestra pit and advanced AV and lighting equipment, the multi-purpose space can accommodate a wide range of functions from theatrical productions and concerts to large corporate seminars and community group presentations. To ensure a high-quality audio experience, CMI selected the JBL BRX300 modular line array system for its excellent sound quality and coverage in a compact, easy-to-use form factor.
The theater’s wide variety of performances and events dictated the new audio system needed to be compact and easily manageable, while providing high-quality sound. The JBL BRX300 system consists of four BRX308-LA line array elements and one BRX325SP powered sub. The BRX308-LA’s feature dual 8-inch LF drivers and 3-inch titanium compression drivers for clear sound from 80 Hz to 20 kHz with 110° horizontal coverage. The dual-15” BRX325 subs offer powerful bass output up to 136 dB. Built-in DSP includes crossover management, EQ, limiting, correction filters, phase-corrected processing and driver-protection circuitry. An integrated six-channel amplifier provides 1,000 watts of power to the sub and up to four line array elements.
In addition to providing clear, powerful sound with broad coverages, the JBL BRX300 system provides unmatched versatility, easy setup and flexible configuration. Mounting possibilities include stacking the line array units on top of the sub, or using an optional pole accessory or flown array frame. A transporter kit includes a rolling cart for up to four BRX308-LA’s and a set of water-resistant padded covers to keep the speakers and sub safe during transit.
A representative for the Erindale Theatre said the system provides a consistent, impactful sound, integrated seamlessly into their setup and can be effortlessly operated by their in-house staff.
Erindale Theatre
- Capacity: 443
- Key Components: JBL Professional BRX300
- Integrator: CMI
Hollywood Theatre, Vancouver, Canada
Operating as a neighborhood theater from 1935 to 2011, and saved from demolition after a community campaign, Vancouver’s Hollywood Theatre has maintained its art deco style and its history all while completing extensive renovations. Designated as a heritage space and opened with Covid restrictions in place, the multi-purpose 594-seat venue now offers multi-dimensional programming including film screenings, musical performances, live theater, comedy, educational events, technical seminars and lectures.
As part of these renovations, a top goal for the theater was to have a premium, rider-friendly sound system that could attract high-end acts with no questions asked. “When I reached out to several touring engineers about which sound system to choose, nine out of 10 came back with d&b,” states Sean Mawhinney, the theater’s general manager.
Integrator Gearforce deployed a sound system comprised of d&b audiotechnik V-Series line array elements and Y-Series point source speakers. The V-Series is a medium-sized three-way speaker and the Y-Series point-source models are compact two-way units. The system includes six V8 over two V12 array cabinets per side, with four J-SUBs, eight M4 stage monitors and Y7P near-fills. V10P speakers and an R90 touchscreen for remote control located in the rear of the building can be run independently for small cocktail receptions in that area. “We built configurations in the R90 that allow the venue to do smaller events without the need of a system technician,” says Rob Nevalainen of Gearforce. “They can run playback music from the bar, the DJ from the balcony or change over to the full concert system at the push of a button.”
“After much consideration and consultation with Gearforce, the d&b V and Y-Series were the clear choice for the Hollywood Theatre,” states David Hawkes, the venue’s operator/entertainment director. “We did not originally plan to push our system, but now have the added benefit of lots of headroom for the big rock concerts while assuring the sound system choice produced a warm sound as well.”
According to Hawkes, everyone who visits the room comments on how great it sounds. “Our local industry know that we have the best-sounding mid-size room in the city now, and our very active booking calendar reflects that. The installation is clean and unobtrusive, which was important to the overall aesthetic of the room which helped increase our status to ‘Heritage A’ during the renovation. Gearforce did a fantastic job with the install. We’re happy with our choice of sound system and would recommend our choices to anyone. Our patrons love our sound. And that’s a good thing!”
Hollywood Theatre
- Capacity: 594
- Key Components: d&b audiotechnik V- and Y-Series
- Integrator: Gearforce
Verizon Hall, Philadelphia, PA
The home of The Philadelphia Orchestra, the Kimmel Center for the Performing Arts, with its 2,500-seat Verizon Hall, opened in 2001 and was due for a sonic makeover. Director of production André Barette, senior audio engineer Kenny Nash and representatives from the resident orchestras evaluated a Meyer Sound LEOPARD line array system. Although The Philadelphia Orchestra itself is not amplified through the system, the speakers are used for dialog and effects for film series where the orchestra performs the score. Concerts for the Philly Pops normally are amplified. The LEOPARD system “demonstrated the versatility we need to meet all the musical styles presented here,” says Barette. “We also appreciated the slim, sleek look of the arrays, which works well with the aesthetics of the hall.”
Meyer Sound’s Bob McCarthy oversaw the system design. DBS Audio Systems was the integrator, with Threshold Acoustics serving as acoustical consultant. Most of the hall seating is covered by the twin arrays of 12 LEOPARD line arrays, with nine long-throw LEOPARD-M80’s over three standard versions for nearer seats. Flown subsystems on each side, with ULTRA-X40, ULTRA-X23 and ULTRA-X20 speakers handle the wraparound seating. Low bass is via six ground-stacked 900-LFC subs in a cardioid configuration.
“The loudspeakers put out a lot of sound for their size,” notes Barette, “and with our excellent concert hall acoustics, it’s critical the amplified sound is crisp and clear in every seat, with the same response from the front row to the upper balcony. The new system has been well received. The comments have been overwhelmingly positive.”
The Verizon Hall also upgraded with a DiGiCo digital-audio ecosystem comprised of a Quantum338 console, two SD-Racks, and a 4REA4 Processor with multiple controllers — from Bauder Audio, which consulted with the venue’s tech team during the in-house installation.
“The DiGiCo Quantum console best met the needs of the Center’s various clients, including Kimmel Center Presents engagements and different touring productions,” Barette explains. “It’s also one that touring engineers are familiar with and it’s very rider-friendly.”
While the Quantum338 and SD-Racks address the venue’s immediate audio needs, the 4REA4 processor is a more strategic acquisition. “The 4REA4 is a powerful and versatile processor, and we see it becoming an important part of our digital audio infrastructure in the future,” notes Barette. It’s used as a backup processor for the Verizon Hall sound system, routing paging and program audio to various zones in the venue’s back-of-house areas. But, in the future, he expects its capabilities will extend to the Center’s other performance spaces, including the 650-seat Perelman Theater and the SEI Innovation Studio theater.
“I’ve been working on DiGiCo consoles as a touring engineer for years, from the D5 to the SD5 and the SD7,” says Nash, “so I’m familiar with their worksurface and software. I could always make whatever I needed happen on them, but the Quantum really takes it to a whole new level.”
Kimmel Center Verizon Hall
- Capacity: 2,500
- Key Components: Meyer LEOPARD line array; DiGiCo Quantum338 console
- Integrators: DBS Audio Systems; Bauder Audio Systems
- Designers: Threshold Acoustics; Bob McCarthy (Meyer Sound)
