064 VENUE
of loose cables, multicores and stage boxes for each discipline. All production cabling in the concert hall is installed in segregated containment, with lighting and sound / audiovisual containment being kept apart from each other and other services. Sound containment is internally segregated to ensure separation of highly sensitive mic and tie line cables from, loudspeaker wiring, data and fibre, and sound power. The theatre, with a reverb time of around 0.7 seconds, has a proscenium opening with elevators allowing for an optional forestage or orchestra pit. There is a central trapped area in one metre square units with the auditorium on three levels and a technical gallery above. Technical provision includes 30 lines of fully automated power flying nine point hoists and six spot winches. In terms of sound equipment chosen, Theatre Projects’ John explained: “As with the concert hall the school was very aware of its requirements and had preferred equipment in mind. The d&b audiotechnik E Series loudspeaker system chosen is intended to be rigged according to the specific needs of each production and can be configured as the sound designer chooses. The mixing console is Yamaha again with the LS9-32 as the chosen surface. The same mix of copper, data and fibre gives flexibility for use and training in different systems.” The ETC Sensor dimmer always formed part of the school’s vision for the theatre. Late in the project the decision was made to change from Sensor 2 to Sensor 3 with a number of Thru Power modules being swapped for standard dimmer or switch modules. This gives the school great flexibility at opening, and the possibility to expand on the number of Thru Power modules in the future if desired. The control surface is the ETC Gio in both drama theatre and studio theatre, having changed late in the project from Eos and Ion. Two desks are provided for each space to allow for full tracking back-up and redundancy and providing additional control surfaces for student training. John was keen to stress that it was not easy separate the design
Image © Julie Harper
control over installed equipment including lighting, audio, video and remote cameras. ETC Matrix Sine Wave dimming was chosen to control all the production and house lighting fixtures in the concert hall. This ‘silent’ dimming approach was chosen to help meet the Arup’s criteria for the room. Linked with an ETC Unison Paradigm, system control can be given to users via a lighting console, AMX panels and local Unison controls. With such a variable platform depth, light and design associates chose ETC Source Four Pars for both the house lights and concert platform lights, ensuring that the same overhead lighting conditions could be created in any platform set up. The houselights, worklights, concert platform lights and effect lights share the same five overhead lighting trusses with some additional house and worklight in three acoustic reflectors. ADB Lighting Warp M moving heads and scrollers are used to provide controllable front specials from the lighting trusses, chosen for their quiet movement and, crucially, lack of onboard fans. Martin Professional MAC TW1 tungsten washlights and Martin Professional MAC 700 profiles supplement the ADB Lighting kit to provide a flexible fixed rig. A further stock of generic fixtures including Robert Juliat profiles and ADB Lighting fresnels can be added to the trusses, balcony front lx bars or flown from additional trussing on Stage Technologies Ch:i variable speed chain hoists. Two MA Lighting grandMA 2 Lite consoles can be run together in full tracking back up. This gives the user lots of flexibility and confidence in the event of console failure. MA Lighting kit supplements the ETC desks seen elsewhere in the buildings giving students exposure to most relevant equipment in use at present. The cabling infrastructure in the concert hall includes installed wiring from racks to facility panel outlets at key locations and an array
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TECHNICAL INFORMATION CONCERT HALL
LIGHTING: 6 x Robert Juliat 611SX lighting fixture; 12 x Robert Juliat 614SX lighting fixture; 6 x Robert Juliat 613SX lighting fixture; 2 x Robert Juliat Super Korrigan HMI lighting fixture; 12 x ETC Source Four PAR follow spot; 5 x ADB Lighting Warp/M 12º-30º lighting fixture; 8 x ADB Lighting Warp/M 22º-50º lighting fixture; 6 x Martin Professional MAC 700 profile lighting fixture; 12 x Martin Professional MAC TW1 wash light; 1 x MA Lighting grandMA2 lighting console; 1 x ETC SineWave distributed dimming; 1 x Christie L2K1500 LCD 2K projector SOUND: 18 x Meyer Sound M’elodie line array loudspeaker; 2 x Meyer Sound 600-HP subwoofer; 1 x Yamaha M7CL digital mixing console
DRAMA THEATRE
LIGHTING: 50 x ETC Source 4 lighting fixture with varying beam angle; 12 x ETC Source 4 Revolution lighting fixture; 24 x ETC Source 4 PAR lighting fixture; 12 x Robert Juliat 611SX lighting fixture; 12 x Robert Juliat 614SX lighting fixture; 12 x Robert Juliat 613SX lighting fixture; 2 x Robert Juliat Lucy HMI follow spot; 24 x ADB Lighting F101 fresnel; 12 x ADB Lighting F201 fresnel; 12 x ADB Lighting C103 lighting fixture; 12 x ADB Lighting C203 lighting fixture; 4 x ARRI Studio Fresnel; 24 x Selecon Lui 4 cell baton; 20 x Rainbow 8-inch Scroller; 6 x Rainbow 12-inch Scroller; 12 x Martin Professional MAC TW1 wash light; 24 x PAR Can 64; 12 x PAR Can; 1 x ETC Sensor3 power control system; 2 x ETC Gio lighting console SOUND: 2 x d&b audiotechnik E12-D loudspeaker; 2 x d&b audiotechnik E12 loudspeaker; 10 x d&b audiotechnik E8 loudspeaker; 2 x d&b audiotechnik E15X subwoofer; 8 x d&b audiotechnik E0 loudspeaker; 18 x Martin Audio WT15 loudspeaker; 5 x d&b audiotechnik D12 amplifier; 3 x d&b audiotechnik D6 amplifier; 1 x Yamaha LS9-16 digital mixing console; Yamaha DME and associated AES-EBU networks
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