102 VENUE
true three-way system in a compact box that is able to sit on the stage yet not obscure sightlines. It also has the unique ability to carry to the back of the room clearly in all frequency ranges. Other boxes that we looked at were two-way systems and did not get as loud or have the clarity in the mid-range to get the vocals right to the back of the room.”
The loudspeaker system is powered by
Lab.gruppen PLM Series amplifi ers, which combine a four-channel amplifi er platform with processing capabilities courtesy of their built-in Lake controller software, producing a complete loudspeaker management system. “Again, drawing from my experience as a FOH engineer I have seen the Lake system become the industry standard for EQ and process- ing around the world. I really like the sound of the EQ and it’s one of the best tools for this job. When the PLM Series came out it made perfect sense to get these amplifi ers rather than having to purchase separate amplifi ers and processors when we could get both in one box,” commented Drew.
A Midas Heritage 3000 analogue console and a Yamaha M7CL-48 digital mixing desk are at home in the Rialto Theatre. Drew is a true supporter of analogue desks, which is why he opted for the Midas Heritage 3000, although he admitted: “It’s certainly not the most convenient and you have to buy all kinds of outboard components,
“We had to position cabinets not only where
they would sound best but also where they would look best, and blend in with the design of the building.”
gates and F/X units but at the end of the day our visiting engineers have a smile on their faces and they love the way their shows sound. When visiting engineers walk in and see the Midas they are happy. They know exactly how to work it and they have had great shows using that same board in the past.” The Midas Heritage 3000 looks after the FOH mixing requirements, while the Yamaha M7CL-48 console is in place for the monitors. Drew feels the advantage of a digital console for monitors lies in the fact that a band can sound- check and perfect the tuning of the monitors, all of which can then be saved and recalled as required. Drew also makes use of a new iPad App, which is compatible with the digital desk, that allows remote tuning rather than having to be behind the desk all the time. “We had limited space for a monitor desk and I feel like the M7CL- 48 is the perfect tool for the job in this case,” said Drew. The original construction and the fact that the venue is a heritage building also posed obstacles when it came to the lighting technol- ogy. The Rialto Theatre doesn’t have an overhead grid as Drew and his team were not allowed to modify the ceiling to accommodate one. Instead there are lighting fi xtures mounted on the balcony, on a truss structure behind the stage and on mobile ground based truss towers. Six ETC Source Four Leko Jr theatrical profi les, 10 ETC Source Four PARNel fi xtures and Robert Juliat Manon followspots were selected to satisfy the conventional needs of the lighting inventory. However, Drew was keen to combine the traditional fi xtures with LEDs in order to future proof the venue and for the specifi ed 10 Chauvet COL- ORado 1-Tri Tours. “We chose the Leko fi xtures for their size and the PARNels for their fl exibility to be used as a par or fresnel. The
www.mondodr.com
Photo by John Woo
Photo by John Woo
Photo by John Woo
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156