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mapping fixtures next to Chauvet DJ effect lights have recently been installed. The Chauvet gear was provided by Rat Sound Systems audio and lighting install company of California. In fact, when mondo*dr visited the lighting had only been installed the previous week. “Because of the variation of acts, the lights have to be just as flexible,” explained Nick. “This is what we’ve been striving for and while the moving heads have only been in place for a couple of weeks we’ve already found them to be very adaptable.” Above the stage there are six Chauvet Professional Legend 412 pixel-mapping moving heads and four Chauvet Professional Q-Spot 560-LED spot moving heads, while two COLORado Zoom Tour washlights sit at the front of the stage for supplementary lighting. “The Legend 412 is a really exciting and cool moving head in terms of lighting technology,” said Nick. “Each moving head features 12 small holes and each three within that can be individually controlled so you can get multiple colours going in the light at the same time. This lets you do lots of different effects - there’s nothing in its class that touches this functionality. “Another great feature of the Legend 412 is that you can see that the different colours are individual pixels. For example one light may be showing yellow but there’s a combination of red and green being used to create this. Or, the pixels might be hidden by a lens so you can only see the colour that is being produced, which is cool.” The very nature of Troubadour club opens it up to guest lighting designers coming in wanting to augment the equipment. Nick explained this was another reason behind the update; he is trying to cut this down as much as possible through investing in new equipment. “An LD might bring in extra lighting such as floor lights, which is something we’ve not explored in the past as it can get tricky because we have a lot of equipment on stage. It is something we want to try and do more of though. We’ll try and get more of the Legend 412s on the floor at some point and we’ve also got a couple of the COLORado Zoom Tours, which we’re planning on using sporadically as floor lighting; but this will be on a case by case basis. My hope is that with the new Chauvet equipment we’ll have less LDs wanting to bring their own equipment.” For lighting control, Nick uses an Avolites Tiger Touch lighting desk, which was part of the last major upgrade a few years ago. “It’s fantastic,” said Nick. “It’s a really exciting desk but inexpensive for the amount of power it has. It’s really adaptable and small in size, which works well when we have guest sound engineers who come in with rack mounted equipment and like to set up between the sound and lighting boards; it’s nice to have the extra space.” While lighting has been the most recent area of investment at Troubadour, the audio equipment has also been upgraded, but in stages. “We really wanted to do a four-way system in here and so for us EAW was the right way to go,” said Sean Myers, Troubadour’s Sound Engineer. “We have six EAW Microwedge MW12 and three
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Microwedge MW15 stage monitor loudspeakers installed. This was about 18 months ago now and before that it was the mixing desk, which was an endorsement through Avid three years ago. Monitor amplification is handled by a Crown MA-36x12 amplifier and a Crest Pro 5001 amplifier handles FOH, while mixing is done through an Avid SC48 console for both FOH and monitors. “The type of equipment we have in place is another element that makes us unique as a live venue,” continued Sean. “It’s a bit above what the room actually requires, but this works to satisfy the bigger acts we get performing here. Headroom is important as well, because we’ll have someone come in and they’ll need to be able to blow it away and the system we have really allows for this; the PA is huge for the size of the room but it needs to be professional and perform at the highest possible level.” According to Sean the main request they get from guest sound engineers relates to coverage. “They might bring in more front fills or something and this ties into the unique needs of the venue. There are lots of little goofy positions and part of the design is to fill in some of these areas and get a nice sound; it’s a tricky room to get to grips with. I’ve been here four years and I’m completely comfortable with it but there is a daily struggle as people think they’re going to have a tough time when they see the venue but we do the best we can and the consensus in LA seems to be that we’re a pretty good sounding venue. “We try to do it all at Troubadour, we’re both pretty young guys and people don’t necessarily expect to see that. It’s not just about the technical stuff for me, it’s about treating people well and this makes a huge difference.” “We deal with a lot of different things every day,” added Nick. “It keeps it interesting. I’ve been to most clubs in LA and Troubadour is definitely my favourite venue. It’s got something about - it’s the first stop for bands debuting in the US.”
TECHNICAL INFORMATION LIGHTING
6 x Chauvet Professional Legend 412 moving head; 4 x Chauvet Professional COLORado Batten 72 Tour washlight; 4 x Chauvet Professional Q-Spot 560-LED moving head; 4 x Chauvet Professional COLORado Zoom Tour LED fixture; 3 x Chauvet DJ LED Pinspot 2 fxture; 2 x Chauvet DJ Scorpion Storm FXGB laser; 1 x Chauvet DJ 20-inch mirror ball; 1 x Chauvet DJ mirror ball motor; 1 x Avolites Tiger Touch lighting desk
SOUND 6 x EAW Microwedge MW12 loudspeaker; 3 x EAW Microwedge MW15 stage monitor loudspeaker; 1 x Crown MA-36x12 amplifier; 1 x Avid SC48 mixing desk; 1 x Crest Pro 5001 amplifier
www.troubadour.com
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