as the lighting, it is still defi nitely worth mentioning. Jonathan said: “The audio system has to be able to minimally amplify while having even coverage, it also needs to offer the kick needed for rock shows, while being able to fi ll the room for DJs and electronic acts. Keeping the production quality and technology high is what sets the venue apart from the other live music venues in New York.” The main PA system is made up of six line arrays of Meyer Sound M’elodies and Meyer Sound M1D loudspeakers. Two Meyer Sound 700-HP subwoofers sit under the stage, while two Meyer Sound 600-HP subwoofers are located at the rear of the building. To complete the PA system, four Meyer Sound UPJ-P compact loudspeakers are used as fi lls - two at the bar, one in the VIP opera box and one at FOH. Monitors at LPR are supplied by four L-Acoustics 112P loudspeakers, along with one L-Acoustics SB15P subwoofer for drum fi ll. For DJ acts there are two Mackie Thump Series loudspeakers available, or two QSC K12 loudspeakers. There are also two mixing desks at the venue, a Yamaha M7CL and an Avid D-Show console, which work alongside a Yamaha DME processor and Meyer Sound Gallileo loudspeaker management systems. “The room has been designed for coverage and clarity in order to make sure we can host an orchestra or a piano and still be able to amplify and record it, while never sacrifi cing a big sound in the room,” said Jonathan. “This was the biggest requirement, to have that crisp clarity and the Meyer Sound boxes have been great. “We have some very bass heavy nights that take place and for this we’ll bring in some low-end reinforcement to really fi ll up the room - just to be able to have that physical quality when you need to be able to feel the sound. We also try and fi ll the room from all sides to make it a really immersive experience.” While the venue may be purposely equipped for live music and acts, having previously homed a nightclub, the venue hasn’t come without its fair share of problems from an acoustics perspective. Before it was known as LPR, the venue was home to Life, quite a famous nightclub in New York City and it had a lot of sound issues throughout the building - vibrations had been going all the way up the building and made life very diffi cult for everyone and eventually saw the club shut down. However, when LPR took over, it really looked at the rooms and tried to identify where the problems were in order to eradicate them. To sum up, Jonathan told mondo*dr: “We couldn’t be prouder of what we have achieved over the past fi ve years - especially with the recession happening right after we opened our doors. From a business stand point, we’ve really had to come down and make things work so we’re proud of that - there are a lot of great venues in the city and a lot of competition. We have two great rooms, one of which has great fl exibility. One of the things I am most proud of is seeing how the room can change in any given day in between shows and that credit really goes to our amazing crew.”
TECHNICAL INFORMATION LIGHTING
12 x GLP impression Spot One moving head; 13 x Chauvet Professional COLORado 1 LED moving head; 18 x COlor Kinetics Colorblast 12 LED lighting fixture; 42 x ETC Source Four ERS lighting fixture; 35 x ETC Source Four PAR lighting fi xture; 96 x ETC SensoRack dimmer; 3 x Martin Professional Atomic 3000 strobe; 1 x ETC Ion lighting console; 1 x 20-inch disco ball; 1 x Look Solutions Unique 2.1 hazer
SOUND
2 x Meyer Sound M’elodie line array loudspeaker; Meyer Sound M1D line array loudspeaker; 2 x Meyer Sound 700-HP subwoofer; 2 x Meyer Sound 600-HP subwoofer; 4 x Meyer Sound UPJ-1P loudspeaker; 6 x L-Acoustics 112P loudspeaker; 1 x L-Acoustics SB15P sub bass; 2 x QSC K12 loudspeaker; 2 x Mackie Thump Series loudspeaker; 1 x Yamaha M7CL mixing console; 1 x Avid D-Show Profi le mixing console; 1 x Yamaha DME processor; 1 x Meyer Sound Galileo loudspeaker management system
www.lepoissonrouge.com
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 |
Page 157 |
Page 158 |
Page 159 |
Page 160 |
Page 161 |
Page 162 |
Page 163 |
Page 164 |
Page 165 |
Page 166 |
Page 167 |
Page 168 |
Page 169 |
Page 170 |
Page 171 |
Page 172