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. And smaller and mid-sized venues seem to be doing well, especially as artists once strictly relegated to arenas are now turning to more “intimate” spaces.
These days, audiences expect — and demand — a first-class audio experience where intelligibility and musicality are just as important as rock ‘n’ roll SPLs. With than in mind, we present a look at some recent installation projects —that reflect the current state of the art in theater and performing arts venues.
Paramount Theatre, Oakland, CA
When it opened in 1931, Oakland’s 3,476-seat Paramount Theatre was the largest movie palace on the West Coast. Audience capacity dropped marginally — to 3,040 — during the 1973 restoration, while the Art Deco interior was painstakingly restored to its original magnificence. The resplendent architecture was recently complemented by a Meyer Sound system, with the final decision tilted toward the Meyer Sound solution based on array size, visual aesthetic, local support and meeting the approved budget.
The venue’s designation as a U.S. National Historic Landmark raised challenges for the audio system renewal. To consult on the complexities involved, Paramount Theatre general manager Jason Blackwell turned to Berkeley-based The Shalleck Collaborative, Inc. The system was supplied and installed by Sound Image, a Clair Global Brand.
“Ian Hunter, a principal at Shalleck encouraged us to install delay speakers under the balcony,” says Blackwell. “But there was no way we could make it work effectively and affordably within the strict historic preservation guidelines. Ultimately, we had to put the building first.” Hunter set out to overcome the limitation. “The MAPP-3D models produced by Meyer Sound using Leopard showed it would be okay. The arrays push under the balcony surprisingly well, with power and clarity.”
The system comprises dual front arrays of 14-each Leopard compact linear line arrays. The top 12 are M80 versions with an 80° horizontal pattern, while the bottom two have the standard 110° spread. Corner fills are, per side, one each UPQ-D1 and UPQ-D2 full-size speakers, with six ULTRA-X20 compact wide coverage speakers for front fill. Deep bass is via four cardioid arrays of three 2100-LFC low-frequency control elements, with two arrays flown and two ground stacked. Eight MJF-210 low-profile wedges provide artist foldback.
“Leopard arrays were a ‘Goldilocks’ solution,” says Drew Johnson, assistant audio department head at Sound Image San Francisco and the on-site project leader. “Not too big, not too small, but with their 9” low-mid drivers they were just right. They are very directional and the way we have them angled throws to the back with very little reflection off the walls.”
The arrays are split into four zones to optimize the level and EQ for the vertical coverage areas. “We have plenty of power to fill the room without hitting the amps hard at all,” continues Johnson. “We have a lot of headroom, and the arrays achieve their high output without a lot of power draw.”
Two Galileo Galaxy 816 network platforms supply drive and optimization for the main arrays and corner fills via analog inputs, while the 2100-LFC elements and Ultra-X20 loudspeakers connect for both audio and monitoring data via a Milan AVB network controlled by Nebra software.
“Right out of the gate, without tuning, I was impressed with the output of the system,” says Drew Johnson. “Jason Blackwell requested we play some Louis Armstrong, and it came through with crisp, clear musical tone.”
Johnson returned a couple of weeks later to work as monitor tech for a Lila Downs concert. “The FOH engineer was really happy and the crowd was lit up. I was blown away by how well the cardioid subs worked. I could stand right behind them and still have a conversation.”
The system is already paying dividends, says Blackwell. “Now we can handle any show that comes in, so nobody has to pay for outside sound system rentals, especially with all the rigging labor expense. In the past, some shows would go elsewhere, and when some shows would bring in third-tier rental systems, it would hurt our reputation. Now we can put all that behind us.”
The audio renewal also included Yamaha CL5 and CL3 consoles (FOH and monitor respectively) and four additional Shure Axient wireless systems.
Paramount Theatre
- Capacity: 3,040
- Key Components: Meyer Sound Leopard Line Arrays
- Designer: The Shalleck Collaborative
- Integrator: Sound Image, a Clair Global Brand
Wind Creek Event Center, Bethlehem, PA
A regular rock-tour stop for the past dozen years, the 3,500-seat Wind Creek Event Center recently installed a new L Series concert sound system, with integration provided by Horsham-based L-Acoustics Certified Provider Bauder Audio Systems.
The L-Acoustics L Series system comprises two L2 loudspeakers over one L2D element per side, each powered by its own LA7.16 amplified controller. The system is rounded out by five A10i under-balcony fills, two A15i Wide delays, and ten Kiva II front-fills, all powered by LA4X amplified controllers, plus ten KS28 ground-stacked subs driven by three LA12X. The entire system is managed by a P1 processor and connected over a Milan-certified AVB network.
Bauder production manager Brian Naab says the venue first heard about the L Series from Matchbox 20’s FOH engineer who experienced it at Coachella last year. “The band came through the Event Center when the venue was considering replacing its current P.A. and he said, ‘You really ought to give the L2 a listen’,” Naab recalls. “We hadn’t yet had the opportunity to attend a demo, but we felt that our relationship and experience with L-Acoustics alone was enough to make a solid decision based on the system specs.”
Wind Creek Event Center was rewarded for that faith with a system that Naab says puts out far more SPL than any other rig of its size, in the process improving not only its reach but also the sightlines from side seating. One L2 or L2D element provides the same contour as four K2 elements in a format that’s 46% smaller and 40% lighter, and high-precision broadband coverage using a supercardioid pattern offering improved rear rejection, he notes. “This level of SPL and clarity from a system of this size is unmatched,” he says, adding everyone was super happy with the choice of L Series.”
Among those who are very pleased is touring FOH veteran John Rupp, the center’s head of audio and production manager, who says the difference the new L Series makes for the venue’s sound is “night and day,” adding “with our old system, many locations in the venue sounded like a completely different rig every few feet. With the L Series, the quality is exactly the same from just about every spot in the house; whether you are up in the suites or in the front row, the characteristics remain consistent. The system’s headroom is an added bonus as well.”
An L-Acoustics system brings with it more than great sound. It also signifies to touring artists and fans that the venue cares about sound quality. “We always want the artist to know the equipment we have available in-house will allow them to present their show in the best light,” says Jamey Hines, Wind Creek Event Center EVP/General Manager. “Being recognized by touring artists and agencies as a first-class venue with top-of-the-line sound is a major factor in their decision to elect to play the Event Center. L-Acoustics is on every top touring band’s rider. We understand what artists are looking for when choosing a venue and we feel that having the brand-new L Series here shows that we’re making sure we go above and beyond their needs.”
Wind Creek Event Center
- Capacity: 3,500
- Key Components: L-Acoustics L Series
- Integrator: Bauder Audio Systems
Perelman Performing Arts Center, New York, NY
The plan to develop a cultural center at the new World Trade Center began 20 years ago, which included adding a performing arts center as part of rebuilding the World Trade Center site following 9/11. The Perelman Performing Arts Center (PAC NYC) is that keystone and the final public element of the World Trade Center site.
Within the complex are three principal venues — the 450-seat John E. Zuccotti Theater, the 250-seat Mike Nichols Theater and the 99-seat Doris Duke Theater. These can be used independently or combined into 10 different proportions with more than 60 stage-audience arrangements ranging from 90 to 950 seats.
“Charcoalblue was hired as the theater consultants for the Perelman,” states CB senior AV consultant and designer consultant Josh Loar. “I have always held d&b products in very high esteem — their speakers have a deserved reputation for musicality and clarity.”
The Perelman presents events from chamber ensembles to amplified contemporary music, straight plays, musicals, dance, opera, spoken word and film. “Our approach was to provide a stock set that allows rental events or short-run events to select one of Perelman’s already-tuned configurations,” Loar explains. “A baseline for times when a sound designer was not part of a touring company’s staff, or musical events that don’t typically have a theatrical-style sound designer. Additionally, as the Perelman is nearly endlessly reconfigurable, they needed speakers to accommodate traditional end-stage, in-the-round and a host of other shapes. Secondly, we wanted to incorporate Soundscape capabilities for full sound design flexibility in the venues.”
A spokesperson for d&b Americas said, “d&b’s Soundscape was designed for incredibly quick deployment (touring) in a new space every couple of days, without the complex tuning and setup that some of the immersive solutions require, so we felt like it would be at perfect fit. For the Perelman, with a near-infinite number of configurations, ease of deployment was a must, and that is where Soundscape really shines.”
While Soundscape systems typically require more speaker positions than traditional P.A. setups, these can often be smaller cabinets at each position, improving sightlines or even tucked away out of sight. As both level and delay processing are independently utilized per speaker position in real time, multiple loudspeakers are producing sound simultaneously to create accurate localization — no matter where a listener is seated.
Charcoalblue spec’ed a point-source system driven by Y10P, Y-SUB, 8S, and 44S speakers mounted in a range of configurations. Further, CB specified V-Series arrays and point sources paired with V-SUBs for end-stage and other array configurations. “We also designed some expanded systems, where the Perelman elected not to purchase all recommended units, but to hold the designs as reference for rentals when needed,” adds Loar. “This includes SL-Series boxes (they bought SL-SUBs, but SL tops are rented when needed), additional 44S boxes and E-Series boxes.”
The three separate venues needed a sound system as flexible as the space. According to Loar, “d&b provides an excellent backbone to ensure beautiful, lucid sound reproduction in any configuration.”
Perelman Performing Arts Center
- Capacity: 90-950
- Key Components: d&b Soundscape; Y-, V-, SL-Series
- Designer: Charcoalblue and Threshold Acoustics
- Integrator: Sound Associates and Masque Sound
Essex, Rochester, NY
Located in Rochester’s Neighborhood of the Arts district, Essex is a new 2,000-capacity performance venue poised to be one of the city’s premier destinations for live concerts. In a district with few music venues, the music hall is a glowing addition to the area, bringing nightlife to mixed city residential and old industrial complexes. Essex will allow for more national acts when touring through Western New York to choose Rochester, as opposed to neighboring cities, like Syracuse or Buffalo.
“The main focus of the venue is to showcase national touring artists that might otherwise drive right past Rochester,” says Essex co-owner and talent buyer Dave Drago, an audio an music busines veteran who was tapped to oversee every design level of the venue’s systems. “Our vision with Essex was to add a viable concert venue, offering people a beautiful space to enjoy good music and great service.”
When construction began in August 2023, it was at a frenzied pace, bringing crews of 20 contractors at a time for demolition, followed by new construction, staging, and sound. When the search for the Essex house system began, Drago already knew his go-to brand for the venue. “I knew RCF products had a great reputation, and RCF was the only system we wanted at our music hall.”
Working with Audio Images, an integrator, sound production company and RCF house based in Batavia, NY, Drago learned they had a turnkey solution in the shop. “When I spoke with [Audio Images VP of operations] Joe Barnes, he suggested the HDL 30-A’s [2×4] over three SUB 9006 subwoofers — all were available and ready for installation,” recalls Drago. “We couldn’t move fast enough to get the system.”
“When Drago contacted us and explained they wanted to create a premier venue in Rochester, RCF was the only choice,” recalls Barnes. “With the HDL 30-A’s, SUB 9006’s with HDL 6-A for front fills, the system fit perfectly in that room. After RCF came in and helped tune the system, I believe there is no room in Rochester that sounds better. Additionally, Essex added NX 915-SMA monitors and have received much praise for their clarity and punch in other systems we deploy. RCF delivers a complete solution.”
Essex
- Capacity: 2,000
- Key Components: RCF HDL 30-A Line Arrays
- Integrator: Audio Images
Meruelo Studios, Los Angeles
Meruelo Media is California’s largest minority-owned broadcast media group, with TV and radio stations serving a combined audience of nearly four million. Meruelo Studios, the company’s full-service broadcast production facility located in Los Angeles’ mid-Wilshire district, is in the former home of the GAM Arts Center, recognized for its distinctive architecture and a space that once served as a rehearsal hall for the Los Angeles Philharmonic. The 22,000-square-foot complex’s three multipurpose spaces for recording, live performance and broadcast were upgraded with the integration of dBTechnologies sound systems, including VIO C212 arrayable active line-source loudspeakers, LVX P5 distributed passive speakers and ES503 portable column PAs.
Meruelo’s productions span everything from talk shows to live performances, in genres ranging from rock and hip hop to orchestral performances. With revealing acoustics and spaces ranging from green rooms to a 4,000-square-foot performance space, Meruelo’s sound-reinforcement needs are as diverse as its productions. Don “Dish” Bish, of local tech supplier Trans Am Entertainment knew dBTechnologies would provide the perfect solutions.
“We used dBTechnologies speakers at [West Hollywood’s] Viper Room, and I really liked them,” says Bish. Gray added that “one of the challenges Dish and I came into was how to handle not just rock and roll or just hip hop, but the subtleties of an orchestra. How do you cover that gamut? dBTechnologies stepped up and filled in that gap.”
For Bish, dBTechnologies’ VIO C212 active point-source speakers were the right choice. “I can get great vocal clarity; I can have a great guitar tone; I can have a great violin through it. I can have a great set of chimes from an orchestra, and I can also have a great backtrack synth from a hip-hop artist,” he explains, adding that the system’s ease of adaptability lets him optimize response for any scenario in an instant.
“I can shape the sound for the entire room with a laptop, for any genre of music,” he explains of the versatile six-loudspeaker array. “The boxes actually talk to each other via dBTech’s Aurora Network. It gives me the ability for me to go in and make a change with a click of a switch,” Bish adds.
Meruelo Studios’ production capabilities extend to smaller, multipurpose spaces, including a green room equipped with a dBTechnologies ES503 portable column P.A., which can be easily moved around and configured in a range of ways. “Artists can warm up and rehearse in the green room,” says Bish.”
According to Gray, when choosing a sound system, fidelity comes first. “Bish made an excellent choice when he put those dBTechnologies speakers in.”
Meruelo Studios
- Capacity: Variable (4,000 square-feet)
- Key Components: dBTechnologies VIO C212 point-source speakers
- Integrator: Trans Am Entertainment
