|
World class sound and lighting services specific to your needs! |
|
|
|
|
|
YOUR TOTAL PROJECT MANAGER |
FROM THE BOARD ROOM TO THE ROCK ARENA |
|
World class sound and lighting services specific to your needs! |
|
|
|
|
|
YOUR TOTAL PROJECT MANAGER |
FROM THE BOARD ROOM TO THE ROCK ARENA |
|
Full system design
|
|
J. MARSHALL UPS THE ANTE AT WORLD'S LARGEST PROFESSIONAL DINNER THEATER Audiences at The Carousel Dinner Theatre in Akron, OH are enjoying shows with production values on par with the biggest and best touring musicals. As well as a feast for the eyes, the Carousel offers its audience vivid sounds delivered via a state-of-the-art line array system. Jason Marshall described how he used the XLD to put the Carousel in a league of its own:
|
|
“We had a 36-hour window to install the system, after just a week and a half to spec, order and deliver the products. Jason Jacquemain at CL Pugh (EV reps) and EV dealers AA Sound (Barberton, OH) really went the extra mile to help make it happen on such a tight schedule. The previous show closed Saturday night, the next show’s cast was onstage for rehearsals Monday, and the first audience was due on Wednesday!” Marshall continues: “The theatre is an asymmetrical 1100-seat room with balconies and 180-degree-plus in-the-round seating. As I mentioned, a major concern here was space in the air: there is no fly headroom in the house and no points for motors, so the boxes were installed one at a time using a ground lift. We flew three arrays of five boxes. Being as small as they are, it only took a couple of hours to get the arrays rigged up and the angles set in the air. This would have been impossible with larger array boxes, so the XLD was a real problem-solver here.
|
|
“Rather than a regular left, center, right configuration, we flew three independent arrays, each running the same send from FOH. The system is powered by EV CP1800 amplifiers (highs) and CP2200 amplifiers (lows/mids), with each array controlled by an EV Dx38 processor. We used LAPS to run some application scenarios, and then tweaked the arrays to the room by ear over the first couple of days during rehearsals. We had limited access to the arrays once the rehearsals started, so the fact that the boxes sounded good running flat out of the box helped a lot—we were able to focus on fine-tuning right off the bat. We now have full sonic control in the room, on each axis, from each array. We can precisely address the balconies without pounding the front seats, as was the case with old system (three clusters of trap boxes), which was very heavy-handed in comparison. “’Buddy’, The Buddy Holly Story” “‘Buddy’ was the fifth production staged with the new rig, and easily the loudest. We had the full bandwidth and even coverage needed to reach every seat in the house with superb intelligibility, and no complaints about either too much or too little volume. We were excited that the sound quality in the theatre was able to match the high production values of the Carousel's shows, giving guests a really memorable experience.” http://www.carouseldinnertheatre.com/ http://www.aasound.com/2006site/Home.htm
|
|
