Today, despite competition from multiplex cinemas, home theaters and every conceivable form of sporting event, there is still considerable interest in watching humans in live onstage performance, whether in drama, musicals, concerts, dance or opera. At the same time, while stadium shows are less common these days, smaller (and much smaller) venues seem to be doing well, especially as artists once strictly relegated to arenas are now turning to more “intimate” spaces.
Audience preferences for these spaces is on the upswing, yet these same patrons expect — and demand — a first-class audio experience where intelligibility and musicality are just as important as rock ‘n’ roll SPL’s. With than in mind, we present a look at some recent installation projects — both new construction and upgrades — that reflect the current state of the art in theater and performing arts venues.
The Smith Auditorium, Sydney, Australia
Sydney’s Shore School was established in 1889 and is recognized for providing a comprehensive education that focuses on developing the whole person. Located in an idyllic location overlooking Sydney’s North Shore, the school spreads over two campuses.
Shore School’s The Smith Auditorium is a professionally built 600-seat theatre at the North Sydney campus. With the theater established since the mid-90s and several generations of P.A. technology behind it, the Auditorium’s FOH speaker system was nearing end-of-life, and Shore turned to integrator Forefront Productions for a new P.A. solution.
Taking advantage of a season of the school’s annual musical production, Forefront Productions of Warners Bay, New South Wales supplied an Adamson CS7 line array system augmented by CS118 subwoofers, enabling the school to evaluate the P.A. during a real-world application. The Adamson CS7 system ticked all the boxes for Shore School and the system was permanently installed.
“We had the opportunity to try the system in our theater for a period of about a month,” relates Nicholas Wright of Shore’s Technology Services. “That included the rehearsal and performance periods of our senior school musical. It was so beneficial to hear the system being used as it is intended rather than just demoing with recorded music. Having our musical mixed by an external contractor also gave us another professional opinion when deciding if CS7 was right for us.”
The CS-Series offers both onboard amplification and full signal processing. Using Adamson’s new AI Software, which combines its Blueprint design and coverage prediction software with live processing, the CS-Series provides optimum performance with live control and telemetry.
The entire CS-Series, which includes multiple models of both point and line source speakers, are all equipped with AVB connections running on the Milan protocol, meaning that the school can connect its entire P.A. to a network backbone. Via ongoing firmware updates, Adamson CS-Series users are offered upgrades when improved system presets are released, and new functions — such as array processing — are implemented.
“The opportunity to invest in a system with that kind of future-proof technology and the opportunity for continuous improvement was a no-brainer,” says Wright.
“Whether it’s through school events, assemblies or musicals, the PA fits our purpose perfectly,” Wright adds. “The venue is also hired out for external events which include concerts and dance performances, demanding more low-end and higher SPL, but the CS7 main modules and CS118 subs handle it easily. The sound quality of the CS7 line array is incredible, especially when it comes to vocal clarity. For such a small system, it covers our 600-seat theater perfectly with plenty of headroom.”
For an active system with onboard power amps and processing, the CS Series is extremely efficient in terms of physical dimensions and weight. “One major consideration when having a system designed was the weight capacity of the structure and rigging equipment already in the venue,” explains Wright. “I was blown away at how lightweight the CS boxes are whilst still being so capable. It turns out our larger Adamson system with subs flown still weighed 100 kg less than our previous line array without its subs.”
The Smith Auditorium
- Capacity: 600
- Key Components: Adamson CS7 system
- Integrator: Forefront Productions
Berliner Ensemble, Berlin, Germany
Established more than 125 years ago, the Berliner Ensemble is one of the most traditional long-standing German theaters. When the historic Threepenny Opera began preparation for its return to the Berliner Ensemble stage where it originally debuted in 1948, it was clear that the existing sound system in the theater’s largest hall needed expansion.
Tel Aviv-based production company MMT-TLV was responsible for the new sound reinforcement concept. MMT Network managing director Ralf Bauer-Diefenbach collaborated with sound designer and certified sound engineer Holger Schwark for the installation. Elektroakustik Neuenhagen GmbH supplied the new d&b audiotechnik Soundscape and A-Series components, which delivered a powerful, transparent sound system complete with the ability to precisely localize sound sources, elevating not only the experience of Threepenny but for all styles of productions for years to come.
“The legendary venue needed a system that would be both flexible enough to accommodate various performance styles, but truly enhance the connection between performer and audience member,” says the Berliner Ensemble’s Maik Voss. “Once we heard the magic of Soundscape we knew it was the perfect fit.”
The system consists of A-Series hangs, complemented by four d&b 4S point source speakers installed along the front edge of the stage. The largest hall holds double clusters of d&b C7s, each with a flown subwoofer, along with numerous E12s across the walls as aisle monitors. Additionally, a d&b DS100 Signal Engine is housed in a 19” rack as the Soundscape centerpiece.
The installation of A-Series loudspeakers improves the localization for the front rows of the audience and serves as monitoring for the orchestra musicians sitting in the pit. “Many audience members often don’t even realize that they are being subjected to electroacoustic sound,” says Voss. “d&b Soundscape makes the sound seem completely natural — visitors always locate the voices exactly where the action is happening on stage.”
The Soundscape platform shapes deep and intense connections between listeners and artists, and supports object-based mixing as well as enabling localization and imaging of sound objects within the chosen sound design field.
“We deliberately use Soundscape at the Berliner Ensemble in conjunction with the room acoustics in the hall and that we optimized,” says Ralf Bauer-Diefenbach, managing director at MMT Network. “It would be wrong to orient ourselves exclusively to the distribution of direct sound. In my opinion, a truly convincing sound is only possible when the sound of the orchestra or the first reflections from the pit are included in the considerations.”
For each scene of the Threepenny Opera, Schwark created a comprehensive snapshot of object positioning using En-Scene. This software allows the individual placement and movement of up to 64 sound objects so that each sound object corresponds both visually and acoustically. In addition, the automation software En-Snap is utilized, the program designed alongside Gareth Owen and enables straightforward, cue-based control within the d&b Soundscape environment, connecting directly to the d&b DS100 Signal Engine.
“We have already seen a huge difference in our sound,” concludes Voss. “This installation will allow a larger audience to appreciate productions at the ensemble for years to come.”
Berliner Ensemble
- Capacity: 700
- Key Components: d&b Soundscape and A-Series
- Integrator: MMT Network GmbH, Holger Schwark
Mansfield ISD Center, Fort Worth, TX
The Mansfield Independent School District (ISD) facilities in Fort Worth include the Dr. Jim Vaszauskas Center for the Performing Arts, a 5,500-seat facility used for live music and theater events.
During the pandemic, some of the facility’s high-tech gear began experiencing end-of-life issues. Mansfield ISD engaged Fort Worth-based CRUX Technology & Security Solutions to bring the facility back to state-of-the-art standards. CRUX’s P.A. solution was Electro-Voice X2 line-arrays with Dynacord’s IPX series amplifiers. DSP, time delays, speaker optimization and system control were programmed into the amps via Dynacord SONICUE sound system software and local company Electro Acoustics handled the installation.
Key to the upgrade was reinforcing the facility’s ability to generate revenue for the school district by hosting national touring productions with its in-house sound system, which was easily met by the EV-Dynacord solution. The CRUX design would create the largest permanent installation of EV X-Line Advance in North America, with a total of 67 full-range cabinets plus ten subwoofers, making the 5,500-seat auditorium worthy of hosting major touring concert events. In addition, the left and right sides of the semicircular room can be walled off to create smaller dedicated spaces, each with its own sound system and seating for 640.
The main P.A. has twin 13-box X2-212 arrays, each with 11 X2-212 90° boxes above two 120° models to ensure full coverage across the front. Low-end is supplied via ten X12-125F dual-15” flying subs, notable for their controlled cardioid output. Three delay arrays of seven X2-212/120 enclosures ensure full coverage to the back of the auditorium.
Audio for the two side rooms is provided by independent 10-box line arrays, utilizing the 90° dispersion X2-212 to achieve full coverage in those narrower spaces. These side room hangs were optimized via SONICUE to deliver sufficient low-end without requiring additional subwoofers.
The P.A. is powered by 16 Dynacord IPX20:4 amps. With 20,000 watts in just 2RU of space, these Dante-enabled smart amplifiers house significant DSP power and are part of the SONICUE ecosystem and employ Eco-Rail technology to reduce power consumption by up to 50%. Another of IPX’s energy-efficient features is Ghost Power, which ensures the amplifer and processing instantaneously recover from mains power glitches, which is important in a location known for having occasional power outages.
In replacing the dated infrastructure with a Dante network, finding an appropriate location for the new amps presented a minor challenge. Fortunately, with only 16 amps needed to supply 320,000 watts of power, the existing catwalk in the main auditorium could handle the equipment racks without additional structural support.
“The Bosch ecosystem of Electro-Voice line arrays and Dynacord electronics provides a synergy of technology, sound quality and value that does a tremendous job of meeting all the customer’s needs,” says Mason Brooks of CRUX. “Everyone involved is thrilled with the result.”
Mansfield ISD Center for the Performing Arts
- Capacity: 5,500
- Key Components: E-V X2-212 arrays
- Integrator: CRUX Technology & Security Solutions
Philharmonie Essen, Essen, Germany
The Alfried-Krupp-Saal hall at Philharmonie Essen is renowned for its acoustics and being home to the Essen Philharmonic Orchestra.
As the hall’s program eventually developed beyond a traditional classical repertoire, in 2019 venue management looked for a new audio system that could handle pop, rock and jazz concerts. This included both acoustic renovations and upgrading the P.A. system based on L-Acoustics’ highly flexible Kara II.
Acoustic consultant Müller-BBM Building Solutions was the choice for the new design. Previous architectural modifications included adding an 18-ton polygonal panel above the stage, designed to optimize the hall’s reverberation characteristics for live orchestral works. “That system had worked well, but the evolving music program needed a little more power,” says Müller-BBM’s Harald Frisch, who planned and designed the previous system, was responsible for its new loudspeaker and electroacoustic design.
Frisch and his team organized a blind loudspeaker shootout with an L-Acoustics system and two systems of highly qualified competitors. When compared, it was discovered that L-Acoustics was preferable in terms of both audio quality and being more cost-effective.
With the previous system, the venue’s side galleries weren’t adequately covered. “To address this, we used larger arrays for the side galleries rather than delays,” explains Frisch. “Delays can have the side-effect of localizing sound away from the stage for the gallery audiences. We wanted to have a sound source coming from the stage that was strong enough to reach the galleries and localize sound from the stage, no matter where the audience is seated.”
Frisch continues, “We also included a delay line for the gallery opposite the stage to prevent late reflections from the rear wall. With the new system, the main balcony on the opposite side of the stage only gets a little impulse from the main system to create an acoustical localisation towards the stage. A powerful delay system fully covers the balcony with proper sound pressure levels.”
The new Kara II-based system was supplied and installed by L-Acoustics Certified Partner integrator Amptown System Company. Amptown project manager, Michael Klötzer, remarks, “The basic design was done by Martin Rode, senior application project engineer at L-Acoustics, who collaborated with the Müller-BBM team to achieve the final outcome.”
“Part of the specification was to improve the coverage in the upper balcony,” explains Rode. “As Kara II’s horizontal dispersion is adjustable, it’s possible to tune that to the shape of the room. Setting the upper cabinets in the main arrays to 90° gave us a great result.”
The audience area is covered by LCR arrays of Kara II comprising 12 cabinets left and right, with eight Kara II in the center. Four KS21 subs per side of the stage in cardioid configuration provide LF energy. Nine compact 5XT spread across the stage lip provide front-fill while keeping clear sightlines. A pair of A10 (one Wide, one Focus) sit atop the KS21, allowing the audience to localize vocal content at stage level.
The design throughout the hall is effectively a distributed system covering 360 degrees. Arrays of three Kara II cabinets per side cover the upper side balconies, once again using the adjustable dispersion — two enclosures are trimmed to a 70° narrow horizontal dispersion, while the lowest cabinet (set to 90°) covers the middle balcony. The choir balconies, above and behind the stage are served by four arrays of A10 Wide: the two inner consist of three A10 Wide; the two outer arrays have one A10 Focus and Wide. Additionally, the rear balcony area at the side behind the Kara II arrays are covered by an A10 Wide for the upper balcony and two A10 Wide per side for the lower balcony. “Although the main system covered those areas, the additional speakers gave us a little more energy and a bit of freshness there,” Rode notes.
The venue’s team have been impressed with the results. “The sound image is constant, with the acoustic orientation always towards the stage. Regardless of where you are in the room, the sound image is always in the right place,” Rode reports.
Frisch added, “The results from the new L-Acoustics system are impressive and deliver the power, coverage, and clarity that Philharmonie Essen deserves.”
Philharmonie Essen
- Capacity: 2,000
- Key Components: L-Acoustics Kara II
- Integrator: Amptown System Company
Goss Opera House, Watertown, SD
One of three early 19th century opera houses located in Watertown, SD, the Goss Opera House was built in 1889. The Goss even has a resident ghost — a local waitress who died while renting a room there during the great depression. Eventually, the space went dark, and by the 1950’s, The Goss had been neglected and nearly forgotten as a performance space.
Some 70 years later, community supporters raised nearly $5 million to help renovate the Goss as a venue to host live entertainment, theater productions and musical acts. In September 2020, the Goss Opera House once again became the region’s community treasure.
The Goss has a 500-seat capacity (seated, standing room and balcony) with 12 box seats that include a private hospitality suite. A restaurant and bar occupies the first floor, while opera hall events operate on the second and third levels.
“When it came time to choose an audio system, we had Jeff Engen from Audio Connections to consult a few options with us,” says Goss Opera House entertainment director Chris Paulson. “Jeff brought in an RCF HDL line array system alongside a comparable JBL system, which we benchmarked side by side. The RCF had a much cleaner sound,” said Paulson, “with more clarity on the mids and high-end. We were impressed.”
The RCF line array system features 12 HDL 30-A (2×6) paired with two dual-18 RCF SUB 9006-AS subs under the stage. Three HDL 6-A were used as front fills and two RCF C 3108-126 are positioned as side fills below the balcony. The system is run with a Midas M32 console and a combination of Sennheiser, Shure and Audix mics and Radial DIs.
Engen found the Goss to be a challenging space, one in which the HDL system met all expectations. “We knew some of the challenges of the space. The room has great natural acoustics for orchestras and opera, but for live music and playback, under the original tin roof, we needed a good quality line array system to focus sound where we needed it to be,” explained Engen. “We knew the Goss was planning on more than plays and operas, and needed a system that could to handle all of it. The HDL system rocks.”
“We have received great feedback from regional, as well as touring, sound engineers on the quality of the RCF system, as it complements the natural acoustics of the room,” Paulson notes. “We’ve been very happy with our choice.”
Goss Opera House
- Capacity: 500
- Key Components: RCF HDL 30-A
- Integrator: Audio Connections
The Beverly Theater, Las Vegas, NV
As Las Vegas’ only indie film house, storytelling headquarters and intimate music venue, the new multi-purpose The Beverly Theater opened on March 3, 2023, with a presentation of the Sundance-screened Korean romance film Past Lives.
The two-story, 14,306 square-foot film house and live performance theater features three distinct areas: the main theater, Segue terrace and courtyard, each designed with purpose and intention, and dialed in to allow for one-of-a-kind content offerings and programming that does not exist anywhere else in Las Vegas.
The main theater features raked seating of nearly 150 seats resting on a retractable platform that can allow for expanded standing room capacity and convert the venue into a multi-purpose black box theater with the push of a button. Multiple lighting plots allow the theater to be used in a variety of different ways and can be staged in multiple directions. A 360-square-foot screen, coupled with a motorized cinema masking system, is designed to maximize viewing angles from every seat in the house.
Powered by an all-Meyer Sound system, The Beverly Theater features a custom audio experience with Meyer’s Constellation platform that integrates high-quality loudspeakers, microphones, digital processing, patented algorithms and proprietary certification techniques in a flexible package. This enables The Beverly Theater to transform its architectural acoustics with a finger tap, affording incomparable sonic flexibility. The Meyer Sound system provides audiences with a robust surround cinema package, with Constellation providing conversations with a microphone-free experience, and maximum flexibility for music performances, allowing multiple musical genres to enjoy the perfect acoustics for their performance.
The Beverly Theater
- Capacity: 150
- Key Components: Meyer Sound Constellation System
The Burgtheater, Vienna, Austria
Seating about 1,340 spectators, The Burgtheater — the Austrian Federal Theater in Vienna is among the largest of playhouses in Europe, as well as being the continent’s second oldest playhouse and largest German-speaking theater.
Recently, the Burgtheater opted for a comprehensive communications solution with Riedel’s Artist and Bolero intercom systems. As an extension of an existing Artist-64-based intercom and radio network, an Artist-1024 node and a Bolero wireless system with 85 beltpacks and 36 antennas have been gradually integrated into the historic venue since the summer of 2021. With the completion of the integration, Bolero has successfully replaced the entire radio technology system in the Burgtheater.
“The technical requirements for communication have changed dramatically in the theater world. The increasingly narrow frequency spectrum was another unbeatable argument for Riedel’s license-free DECT system, Bolero,” said Burgtheater’s technical director Ernst Meissl, “and Riedel’s close support during and after the installation left nothing to be desired.”
Riedel Communications system consultant Christoph Graf added: “The imposing and majestic historic building is an extremely difficult environment for the installation of a wireless system, but we were able to cover the entire building in unrestricted density with 36 antennas —including the workshops, lounges, the canteen and the studio stage.”
From stage technology, lighting and metalwork to sound, stage management and operations technology — as well as the fire department and audience service — more than 20 departments at the Burgtheater now use the Bolero system in their daily operations. They all benefit from flexible, clear, and reliable multichannel communications and new, optimized workflows. With its standalone license, Bolero also offers the technical teams enormous flexibility and advantages for guest performances decoupled from the house.
“For large guest performances, we end up with a system size of almost 50 beltpacks, as with our legendary “Maria Stuart” at the Kampnagel venue in Hamburg. Thanks to the ability to call up pre-programmed system configurations in seconds, we don’t have to adapt the system to our on-site needs from scratch — which saves a lot of valuable time,” Meissl says. “The partnership with Riedel is of great value for the entire Burgtheater, especially as the Riedel team can access our system remotely to support us immediately in case of problems or make adjustments to configurations. We feel we are in good hands all around and absolutely safe.”
The Burgtheater
- Capacity: 1,340
- Key Components: Riedel Artist & Bolero Intercoms
- Integrator: Riedel and in-house staff
