072 VENUE
Image © Jerry Gilbert
shift in reverberation requirements, Arup suggested the installment of an electro-acoustic enhancement system. “In many traditional venues, this flexibility is achieved through the height of the auditorium, which generates the high level of reverberance needed for classical concert use,” said Helen. “But this can mean that the acoustic is unsuitable for speech or amplified music, because it produces a muddied uncontrollable sound. As a result, you need to add variable acoustic elements: sound absorbing drapes and banners, or heavy moving ceilings, which are expensive to build and operate.” The theatre’s acoustic flexibility was achieved using a CARMEN electro-acoustic enhancement system, designed by CSTB (Centre Scientifique et Technique du Bâtiment). CSTB’s Isabelle Schmich explained: “The system recreates the acoustic conditions desirable for ballet, opera and classical concerts with orchestra or choir. The amount of sound energy added to the hall is very small - the sound is not noticeably amplified - so that it retains a completely natural sound for audience and performer. The system can also be set to enhance natural speech, increasing the presence of the projected voice of the actor. “All of this is achieved at the flick of a switch, so no change-over time is incurred. The system’s cost is more than paid for in the savings achieved by reducing the building size and eliminating the need for the acoustic elements, and in fact the result is a better quality acoustic for many events.” Sound reinforcement, which, as Helen describes, is the primary audio configuration, comes from a Martin Audio speaker system, Martin Audio amplification and a Soundcraft Si3 supplied by Sound Technology.
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Northern Light’s Project Manager, Simon Cooper, decided to base the sound reinforcement solution around Martin Audio’s purpose- designed Wavefront theatre systems. For the primary system, he chose 14 purpose designed WT3 Arrayable 3-way compact theatre enclosures. These are designed in three vertical pairs on either side of the proscenium arch, focused onto each balcony, with a single enclosure at the base. The proscenium system is complemented by a centre cluster of seven W3P arrayable compact enclosures to provide true left-centre-right imaging, while two WS18X subs either side of the stage add LF extension. Martin Audio WT15’s provide stage fills, while high up the building four WT2’s and a pair of S18(F) subs are mounted on the second lighting bridge to form the delay system for the second balcony. Finally, under-balcony support is provided by Martin Audio’s C6.8T ceiling speakers - six on each level. Martin Audio amplifiers, situated in a rack room close to the proscenium arch in order to reduce cable runs, drive the main PA system. These consist of 13 MA5.2K, two MA12K and one MA1.3s, while the Martin Audio ceiling speakers reside on a separate circuit and are driven by a QSC CX602V and a CX302V amplifier. Explaining his choice of system, Simon Cooper stated that he had previous experience of seeing WT3’s designed in a similar configuration. His concept received the full support of Martin Audio’s Peter Child, who assisted with its design. With three audience tiers (including fixed-seating balcony and upper balcony levels) and optional ground floor seating wagons - enabling the 1,200-seat auditorium to convert into a larger 1,800-capacity standing space - evenly-dispersed sound to every seat was of
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