Theatrical sound systems have come a long way within the past 50 years. The old practices of shaking a sheet of metal to create thunder and relying on raw vocal power to project a singing voice past the orchestra pit remains a living memory for some of today’s veteran actors and stagehands. Along with game-changing improvements in miniature wireless microphones and IEMs, advances in digital scenery and spatial sound have opened the door to whole new realms of theatrical wizardry. But a fundamental challenge remains: to install visually discreet speaker systems that can overcome acoustic challenges and give everyone a nuanced and balanced listening experience, wherever they are seated.
Cobb Energy Performing Arts Centre, Atlanta, GA
For the Cobb Energy Centre, which hosts Broadway shows, ballet, opera, concerts, poetry, stand-up comedy, and other special events, it was time to modernize its 17-year-old P.A. The venue team enlisted the expertise of international consultants Theatre Projects to design a solution.
One of the goals was to improve vocal intelligibility in the farthest reaches of the hall. “They were getting feedback from guests that at the very top of the grand tier they were struggling to understand stand-up comedians and heavily dialogue-driven performances,” explains Theatre Projects associate Greg Hanson, who conducted a comprehensive analysis of the existing system in Meyer Sound’s MAPP 3D system design and prediction tool in collaboration with Meyer Sound’s director of system optimization, Bob McCarthy.
The evaluation process started with recalibrating the existing loudspeaker system by disassembling and reassembling it in a more optimized setup. This allowed the team to test whether adjustments could extend the system’s lifespan or confirm the need for an upgrade. The analysis validated the decision to move forward with a new system.
The decision to go with Panther was driven by the need for clarity and coverage, as well as the ease of transitioning to a new powered system with existing infrastructure. “There was never even any serious thought of going anywhere but Meyer Sound,” says Brian Fiegelman, director of production for Cobb Energy Centre.
The team demoed Panther large-format linear line array loudspeakers along with Meyer Sound’s 2100-LFC low-frequency control element at a local vendor. “They set up a small ground stack, in a concrete warehouse with no tuning, no timing, no nothing,” says Mike Froedge, A1 mixer at Cobb Energy Centre. “It was phenomenal.”
The new system includes L-R arrays of 14 Panther loudspeakers, a center array of six Leopard loudspeakers and a cardioid array of three 2100-LFC elements. This setup replaces the original system of 24 MICA line array loudspeakers and a center cluster of CQ-1 wide coverage main loudspeakers and CQ-2 narrow coverage main loudspeakers.
Hanson and Theatre Projects designed the new system to work with components of the original system, including four 700-HP and 600-HP deck subwoofers, four M1D ultra-compact curvilinear array loudspeaker front fills, 14 M1D balcony and under-balcony delays and the upper grand tier delay system. That includes four UPA‑1P compact wide-coverage loudspeakers and two UPM-2P ultracompact narrow-coverage loudspeakers, processed by two Galileo 616 network platforms.
Integrator Sound Associates led the installation. Because the old rigging was welded in place onto the I-beams, the team had to re-engineer rigging points. Even so, the installation was completed in just four days, thanks to coordination between the Cobb Centre team, Theatre Projects, Sound Associates, Atlanta Rigging Services and Meyer Sound. “It was an amazing collaboration,” says Sound Associates project engineer Domonic Sack. “We faced challenges, especially with the rigging points, but with the help of Atlanta Rigging, we were able to get the speakers positioned correctly to access the audience.”
“This is the first time I’ve ever done an install where it came out of the box better than the paperwork and the computer said it would,” says Cobb Energy Centre’s Fiegelman. “The new arrays eliminated the need for probably half of the delays in the room. And, we’re also able to have better sight lines.”
“There’s not a bad seat in the house, even when you’re just using the center cluster, like with the Atlanta Opera,” confirms Cobb Energy Centre A1 Froedge. “The clarity and intelligibility of the center cluster alone is consistent all around the room.” Fiegelman adds that the 2100-LFC array supports most programming without requiring floor subs. “Those three 2100-LFCs in cardioid are just amazing.”
“Every problem that we had, Panther solved,” says Froedge. “As far as coverage, low-end consistency, vocal presence, intelligibility, and the stereo image, it addressed all our issues.” He adds, “since we’ve done the upgrade, we’ve had Sting, we’ve had Dave Koz, we’ve had Jadakiss with an orchestra, we’ve had the Atlanta Opera, numerous comedy shows. We’ve gone the entire spectrum from hip hop to classical, and the fidelity is just unreal on all of it.”
Apart from its performance, the new system has also proven to be rider friendly. “I have not had a single engineer walk into the building and not say, ‘Wow, that’s a good P.A.,’” says Fiegelman.
With the new Meyer Sound Panther system, the Cobb Energy Performing Arts Centre is poised to continue its mission of delivering exceptional cultural experiences. “We couldn’t be happier,” says Froedge. “If you’re not happy with a mix on this P.A., then you can’t mix. There’s not a bad seat in the house — it sounds amazing.”
Cobb Energy PAC
- Capacity: 2,750
- Key Products: Meyer Sound Panther, Leopard, 2100-LFC
- Integrator: Theatre Projects
Cerritos Center for the Performing Arts, Cerritos, CA
Who says local governments can’t get big projects done and done right? The City of Cerritos, CA is the owner and operator of the Cerritos Center for the Performing Arts, one of the most technically advanced venue designs in the country. Using a series of moving seating towers and mobile chair wagons, multiple floor lifts, and moving ceiling panels, it offers touring shows innovative variable seating and stage configurability, allowing the 6,000-square-foot performance space to transform from an 1,800-seat arena to a 900-seat recital hall to an 800-seat proscenium theater. This flexibility allows the venue to provide the ideal setting for just about any performance.
The space’s ability to reconfigure is as marvelous today as it was in 1993, when the Center first opened. However, by 2024, it was definitely time for some new audio technology, specifically to replace the facility’s aging front-of-house and monitor consoles. That was accomplished this past August, just ahead of the Center’s new season, with a pair of new Pulse software-equipped DiGiCo Quantum338 mixing consoles supplied and installed by dealer Audio West of nearby Placentia, CA.
One 112-input Quantum338 resides at the 18-foot-wide by 8.5-foot-deep house mix position in the rear-center section of the Orchestra seating area, in front of the venue’s balconies and on a variable-height lift. It and related audio equipment sit on an air-castered wagon for efficient movement if a visiting artist brings in their own console — but that doesn’t happen very often anymore. “DiGiCo is at the top of almost every contract rider we ever see,” says Tom Hamilton, Cerritos Center’s operations manager and technical director.
Monitor world, which now has its own Quantum338, is situated at stage-left in all of the possible configurations of the room. The consoles share a pair of 56-input SD-Racks, both with 32-bit Stadius mic preamps, and everything is on an Optocore network loop.
Cerritos Center’s recently promoted head audio specialist Jon Bullock recommended that the venue acquire the twin desks. Prior to his promotion, Bullock worked part time in various audio-related capacities at the venue since 1998, while also piloting an SD12 console at the Orpheum Theatre in downtown Los Angeles, where he had been supporting shows since the early 2000s.
“I mix on pretty much every console out there, as one often has to when you’re traveling,” Bullock says. “There’s a tribute band that I tour with, and I generally come across four brands, so I’m pretty familiar with all of them. But I’ve always loved the DiGiCo format and versatility. The workflow is very flexible, but its layout is also very uniform throughout all their models. No matter which DiGiCo desk you sit at, you’re immediately comfortable with it.”
Bullock, who gets an audio assist from Kerry Dowling, Matt Adams and Dave Aretsky, cites the advantages of working with consoles that are easier to work with and learn. “It’s very easy to get comfortable with a DiGiCo,” he says, also crediting support from DiGiCo’s Dan Page and Matt Larson along with Glenn Hatch from Audio West. “Their support has been second to none.”
Bullock adds that the Quantum338’s flexibility has also helped, making it a good fit with a venue that can shape-shift as often as the Cerritos Center does. “When we change the configuration of the theater, the P.A. configuration also changes a bit,” he says. “There are different matrix outputs that happen, and the processing changes a bit for each setup. The console can handle all of that easily. You can configure it however you want: your main inputs here, and then your main outputs right beside it, and then your groups there — you can send your mixes anywhere you want. You can send an aux to a group and a group to an aux and back to a matrix. There’s so much that you can do. The board itself is just a treat to work on. It’s a bonus that it sounds fantastic, too.”
From a management perspective, the Quantum338 also helps the venue present itself to the touring industry as a tech-savvy destination. “We’re always looking to book the most contemporary artists we can, and DiGiCo is on the riders for every type of touring artists, including younger ones,” Bullock says. Even if they’re touring with their own gear, “when they see DiGiCo on the house equipment list, they know they’re in the right place.”
Cerritos Center for the Performing Arts
- Capacity: 1,800 to 800
- Key Products: DiGiCo Quantum338 Pulse consoles
- Integrator: Audio West
Indiana University’s Musical Arts Center (MAC), Bloomington, IN
Indiana University’s Jacobs School of Music has positioned itself at the forefront of immersive audio education with the installation of L-Acoustics L-ISA Hyperreal Sound Technology at its 1,460-seat Musical Arts Center (MAC). The new system delivers impressive sound experiences for audiences while also giving students hands-on experience with cutting-edge technologies.
Modeled after New York’s Metropolitan Opera House, the MAC serves as both a premier performance venue and an advanced learning environment. Solotech performed the recent installation and system integration, based on specifications from project consultant Sound Associates.
“We’re committed to giving our students experience with technology that’s defining the future of live sound,” says Michael Stucker, chair of IU’s Music Industry Department and the Jacobs School of Music. “L-ISA is the future, and our students will graduate with a significant competitive advantage having worked with this system.”
“Immersive sound has become essential in modern productions, from opera to Broadway,” notes Domonic Sack, executive vice president of Sound Associates in New York and a former Metropolitan Opera tenor. “Students working with L-ISA are learning skills that will be crucial for their careers in theater and live sound.”
“This is not just any school,” continues Sack. “Indiana University is one of the foremost schools in the world for music, and particularly for opera. Many of my colleagues did their musical training there, taught there, and coached there. The theatre was familiar with L-Acoustics and knew the support would be there when needed, so when I brought up the idea of L-ISA, they were very receptive.”
Sack, who worked with noted Broadway sound mixer Ty Lackey (Roald Dahl’s Matilda: The Musical, Memphis) on the system design, says the potential for L-ISA immersive sound technology to enhance both the performances at the theater and the students’ abilities in their future careers is considerable. “Opera has an incredible storied past that should be built upon, and today’s composers are exploring new ‘colors’ and musical ideas — including immersive sound experiences, which are fast becoming a staple on Broadway,” he says. “Localization of sound on stage is something that audiences are coming to expect without even being aware of it. Students having the tools and becoming familiar with L-ISA will bring more than sound reinforcement to IU; it will help students create sound for the future of theater and opera.”
Stucker, who is also an associate professor of music in audio engineering and sound production, explains that the choice to move to immersive sound was clear, since this is the direction performance venues are moving in. “But it’s not a light undertaking, financially or technically, so we looked really seriously at several immersive system brands first,” he says.
L-ISA technology stood out for several factors. The school has used L-Acoustics before, including a Kudo rig installed in its 3,200-seat IU Auditorium as well as ongoing system rentals, and found them to be dependably great sounding. “Reliability is especially important for immersive,” he adds. “Frankly, we’ve already seen some systems come and go. We were making a long-term commitment. We already have a technically advanced theater and the sound has to be at the same level.”
The comprehensive system features five identical Scene arrays of five L-Acoustics A15i Focus over one A15i Wide each, spread out above the stage. Eight KS21 subs are flown in two hangs of two on either side of the center A15i array, while a single vertically oriented A15i Wide per side is flown on the perimeters of the second and fourth A15 arrays to supply out-fill coverage.
Fifteen ultra-compact 5XT coaxial systems lining the stage lip provide spatialized front-fill, while a pair of Syva colinear columns complemented by six X8 are in place for stage monitoring. The system is powered by seven LA7.16i amplified controllers and one LA12X. System management and processing is done via an L-ISA Processor II and the P1 Milan-AVB processor.
Aaron Beck, Solotech’s business development manager, sales and systems integration, was among those who previously attended the school. “As an alumnus of the IU School of Music audio program, I knew the venue and the requirements of a new audio system, and it has been a great honor to be part of this University upgrade, allowing students to now have access to the same technology Solotech uses on our largest tours and our educational projects worldwide,” he says.
Solotech’s experience and relationship with L-Acoustics assisted in ensuring all equipment was available on a very tight timeline and installed to the specifications. The company worked closely with the IU team, Sound Associates, general contractor Weddle Bros., and Cassady Electrical Contractors to meet all project requirements. “As a result, the system has exceeded expectations, delivering the project from start to finish in less than six months, just in time for back-to-school,” Beck adds.
Stucker notes that the shows produced so far with L-ISA, including weekly jazz performances and two operas, have been crowd-pleasers. But just as important is how the students feel about it — and they really like it: “The students have been engineering everything so far,” he says, adding with a faux lament, “All of us faculty are kind of jealous because we haven’t got to mix on it yet. The students are having all the fun.”
Indiana University Musical Arts Center (MAC)
- Capacity: 1,460
- Key Products: L-Acoustics L-ISA, A Series
- Design & Integration: Sound Associates, Solotech, L-Acoustics, IU
The Royal Theatre has been relying on Lectrosonics since 2004. Photo courtesy Lectrosonics
Royal Theatre and McPherson Playhouse, Victoria, BC
They may be the most venerable venues on Vancouver Island, with a history that goes back more than a century, but the Royal Theatre and its sibling the McPherson Playhouse have both incorporated state-of-the-art wireless technology built around Lectrosonics’ D Squared digital wireless.
The Royal Theatre and its smaller sibling the McPherson Playhouse are Vancouver Island’s oldest and most revered venues. Hosting everything from symphony concerts to plays and Broadway tours, these venerable venues play an integral part in the performing arts scene in Victoria, BC. And although these spaces have been hosting performances since 1913, their wireless audio technology is much newer, relying on Lectrosonics’ D Squared digital wireless components.
Currently, the venues are equipped with six DSQD four-channel wideband receivers, 24 DBu transmitters, four DHu handheld wireless microphones, four DPR-A Plug-on transmitters, and two compact SSM transmitters. These get used by various theater companies, musical ensembles and even full orchestras performing at the venues.
“We’ve been using Lectrosonics since 2004,” says technical director Warren Busby. “We bought a Venue receiver rack, six belt packs, plug-on transmitters, a whole system for the Royal,” the larger of the two venues, which has 1,416 seats. “In 2017, a Venue 2 system was added at the Royal with 6 HHa transmitters and 6 SMQV transmitters to complement the original Venue system,” Busby adds, noting that Pacific Audio Works provides audio gear for both venues.”
A year after the Venue 2 system was added to the Royal Theatre, Busby oversaw an upgrade at the 772-seat McPherson Playhouse. “The D Squared system was brand spanking new at the time. One of its main benefits was that you could achieve more usable channels within a given range of RF spectrum, while needing less bandwidth of separation between those channels. This aligned with how Industry Canada was selling off a lot of the spectrum, some of which our competitors were using for their wireless. So, we demoed a system quickly, and wound up going with four of the DSQD receivers, for a total of 16 channels.”
The transmitter side of the equation, Busby notes, is mostly all-digital as well. “We bought 16 of the DBu belt packs, which are used in a number of other theatres, plus four DHu handheld mics. There are also a couple of the tiny SSM transmitters, which are Digital Hybrid, but the DSQD can receive in hybrid mode just fine, so we have these for when an actor requires the smallest and lightest pack possible. We were able to use the entire system exactly one time before the world shut down with Covid. When we got back up and running, we added eight more channels, so now it’s a 24-channel system.”
Frequency coordination at the McPherson presents two opposing, challenges: the potentially large channel count in a relatively compact space, and a rotating roster of companies and performers. Gordon Heal, who is Busby’s head of audio and assistant technical director, handles both with Wireless Designer software. “A lot of community theatre happens in this space,” he explains. “We have a resident group that shows up with some of their own wireless but leans on us for the rest. Several area schools also stage their year-end productions here. Wireless Designer is great for integrating their equipment with ours, because via the receivers it will find every frequency in play and quickly set up a plot. For troupes that do a residency, leave, then return, we can save files of all their frequencies and update them online. As for external interference, there are some areas we stay away from, but the spectrum in Victoria is nowhere near as crowded as, say, downtown Toronto. Once in a great while, we might change some frequencies at intermission because something shows up that wasn’t there before. But again, Wireless Designer makes that easy to do right from the booth.”
The degree of agility offered by the wideband receivers paired with Wireless Designer means that the Royal and McPherson can host any type or size of performance. “For one run, our challenge might be dealing with a community theatre company that needs a whole lot of wireless and where some actors might come in with their own gear and/or be a bit overconfident about their grasp of sound,” reflects Busby. “Our role is to do our job while also gently educating, and the Lectrosonics system certainly makes that easier. On the other hand, for the 2024 holiday season, we had the Victoria Symphony performing the soundtrack to Home Alone while the movie was being screened onstage. We simply put packs on the concertmaster and other key players, and we knew that we’d not only have great sound quality, but someone can step forward to perform a solo without affecting what the audience hears.”
After crediting the gear, Busby gives Lectrosonics kudos for service. “I have to say Colin Bernard was rather prescient,” he recalls. “Back in 2004 when he was configuring our first Venue system, I asked him, ‘Why are you putting us in the high 400s and low 500s?’ He said, ‘So it won’t become a thing later on.’ Wireless in Canada was mainly in the 700s and 800s at the time, and sure enough, they started auctioning off that higher spectrum, but we were okay. We’ve found that level of attentiveness to be the rule, not the exception.”
Royal Theatre and McPherson Playhouse
- Capacity: 1,416 and 772
- Key Products: Lectrosonics DSQD, DBu, Dhu, DPR-A, SSM
- Integrator: Pacific Audio Works
University of Manchester Martin Harris Centre for Music and Drama, Manchester, UK
The University of Manchester’s Martin Harris Centre for Music and Drama has long been a cornerstone of the institution’s performing arts and education programs. It’s home to the 350-seat Cosmo Rodewald Concert Hall and the smaller John Thaw Studio Theatre, with a capacity of about 100. Stage Electrics, which has served as an AV partner to the university for more than two decades, recently provided an upgrade to both performance spaces, in close collaboration with British loudspeaker manufacturer EM Acoustics. The focus was on integrating high-quality audio systems tailored to each space to improve the audio experience for students, faculty, visiting performers and audiences alike.
“We needed a solution that would free up space in both venues and improve the efficiency of our technical operations,” says Karl Spencer, senior technical and buildings manager at the Martin Harris Centre. “Many of our courses rely on both video and audio, so we were looking to improve audiovisual quality to provide students and teachers with an enhanced experience and the resources to thrive. EM Acoustics products have never let us down and have always worked perfectly. We also appreciate the fact that they are a British company because we like to support homegrown businesses.”
The Cosmo Rodewald Concert Hall primarily hosts classical music concerts, spoken word events and comedy performances. A key challenge here was achieving consistent acoustic coverage across the auditorium whilst being sympathetic to the hall’s appearance. Stage Electrics and EM Acoustics addressed this by installing a comprehensive sound system designed by Greg Clarke, brand manager at EM, comprising left and right hangs of eight HALO-C line array loudspeakers as the main P.A., supported by two R8 loudspeakers at stage level. A further two S-15 subwoofers provide low-frequency support.
“The compact design of the HALO-C line arrays and point-source systems was a perfect fit for these spaces,” confirms Karl Formstone, Senior Project Manager at Stage Electrics. “They provide powerful sound reinforcement while seamlessly integrating into the venue’s aesthetics, maintaining both form and function.”
The John Thaw Studio Theatre serves as both a teaching space and a venue for talks, poetry readings and screenings. The space was already performing well but needed a new surround sound and video projection offering so it could also be used as a full-blooded cinema facility. Therefore, a multifunctional sound system capable of delivering an immersive listening experience was required.
Stage Electrics and EM Acoustics installed a point source distributed loudspeaker system with amplification and processing. This new system comprises seven R8 right, left and center hangs, 12 EMS-51X for cinema-quality surround sound and two S-15 subwoofers.
“Designing a sound system for a space that doubles as a teaching area and a cinema required a highly adaptable solution,” remarks Formstone. “The point source distributed system allowed us to create a truly immersive audio environment while maintaining the versatility needed for various configurations.”
Both venues benefit from user-friendly system control, accessible to students, staff and outside users. The audio system is integrated with the in-house Symetrix control system via several touchscreens. Preset configurations allow the spaces to adapt to different use cases with just a few touches.
The upgrades in both spaces have been transformative. The Cosmo Rodewald Concert Hall now boasts superior acoustic coverage and power, enabling it to host a broad range of events to an exceptionally high standard. The streamlined system control significantly reduces setup time and overall operational demands. Over in the John Thaw Studio Theatre, the enhanced surround sound helps redefine the capabilities of the space.
“Thanks to Stage Electrics and EM Acoustics, we are proud to say that our students now have access to state-of-the-art facilities,” says Spencer on the overall impact the new system has had on the learning experience at the University. “The recent upgrade has significantly improved our operations, making life easier for everyone. Many of our courses depend heavily on technology. Now, students enjoy a higher quality experience, and our teaching and technical support teams can focus on their work without the burden of lengthy setup times or complicated systems.”
The integration of EM Acoustics solutions at the University of Manchester demonstrates the positive impact high-quality AV can have on both education and performance environments. By combining proven audio technologies with user-friendly control interfaces, Stage Electrics delivered a project that exceeds client expectations. “EM Acoustics loudspeakers allowed us to create a tailored solution fit for the University’s diverse needs,” concludes Formstone. “From classical concerts to immersive sound experiences and cinematic screenings, these systems adapt perfectly to every scenario.”
Martin Harris Centre for Music and Drama
- Capacity: 350 and 100
- Key Products: EM Acoustics HALO-C, R8, EMS-51X and S-15 subwoofers
- Integrator: Stage Electrics
Byparken Halden, Fredrikshald Teater & Brygga Kultursal, Halden, Norway
Halden, in southern Norway by its border with Sweden, is an idyllic town with cobblestone streets, local shops, cozy restaurants and river promenades. It also has historic points of interest including the Fredriksten fortress and an unusually large selection of theaters, concert venues and performance spaces.
Nexo distributor Hove West has supported audio upgrades to several entertainment spaces in Halden, including Byparken Halden, the Fredrikshald Teater and the Brygga Kultursal.
Byparken Halden, in a converted train depot next to Halden Station, is an event space that accommodates 600 people standing or 250 seated, and it gets used for a variety of concerts, parties and meetings.
“The system at Byparken comprises FOH hangs of 4 x Nexo GEO M10 clusters with 2 x LS18 subs left and right” reports Hove West’s Asle Skaarslette. “It’s a long building with a low roof height, so we installed one sub behind another which also helps with LF directivity. A pair of Nexo ePS6 delays contribute to achieving very good coverage and the system performs well for the various types of events that take place there, from spoken word to rock shows.”
Just a short walk away is the baroque Fredrikshald Teater. Built in 1838, it still features a sloping stage floor, and for this installation it was particularly important that the audio system was as visually discreet as possible. The setup is limited to Nexo ID84 column speakers on floor-mounted IDS312 subs, both painted the exact shade of red as the surrounding walls to blend into their surroundings.
Elsewhere in the town, the Brygga Kultursal is a 700-capacity venue staging a wide variety of performances from drama to live music. The main performance space now features Nexo line arrays comprised of 7 x GEO S12 and 3 x RS15 subs per side. For Brygga Kultursal’s 250-capacity Black Box theater, a Nexo GEO M10/LS18 sound system supports a similarly diverse range of events.
