Whitman Theatre sound re-enforcement is accomplished by utilizing a new four-way, Electro-Voice-based, digitally controlled, 6 Channel Surround Stereo sound system, designed by Mr. Chet Green, our House Audio Director/Designer.

        The system boasts of Key Fill subsystems that provide clear, uncompromised reinforcement in problematic areas such as under the balcony over-hang and in the top balcony tiers. A full description and inventory of the audio system and its components will follow.  Please take the time to read the complete document; it answers the most frequently asked questions. 

Overview
        The audio system consists of three segments which function independently of their respective physical locations and which are tied together and controlled by a state-of-the-art BSS SoundWeb Digital Processor which acts as the nerve center and integrator for the system.  The system can be run from three locations depending on needs and budget. 

        In a multi-function performing arts facility such as our Whitman Theatre, simplicity and economy-of-design were achieved when the decision was made to move to an all-digital control/processing system which networks all segments of the audio system together.  Chet installed a BSS Digital SoundWeb Processor/Integrator which gives flexibility and an ease of operation previously unavailable with traditional hard-wire and plug-n-patch designs.

The Main House System
        We use two DigiCo SD-8 consoles, one for Front of House and the other for Stage Monitors.  There is a 48/16 MADI rack backstage on the Downstage Right wall and a 48/16 MADI rack that travels with the monitor desk.  The FOH console is located behind the rear orchestra in its own custom designed desk.  The monitor desk is in a rolling rack that also contains the MADI rack, a Denon CD player and the amplifiers for running the stage wedges.  Also permanently located at FOH are two Denon DNC640 CD players and a Denon DBF 650R solid state recorder.        

The Main System’s processing rack contains: 

Processing                    4 DBX 160x Compressors
                                    1 Presonus CL44                       Manual
                                    1 Art TCS Compressor               Manual 
                                    1 Presonus GTX44                     Manual
                                    1 DBX 274 4 Channel Gate
                                    1 Lexicon MPX500
                                    1 Yamaha Rev5 

Equalization                  3 Ashly GQX 3101 1/3 Octave
                                    1 Rane ME60 Stereo 1/3 Octave
                                    1 Ashly PQX572 Stereo Parametric

Playback                       1 Denon DNT520 CD/Cassette Player Combo
                                     1 Sony MDS-D10 Mini Disk Player
                                     1 Cassette Analog Deck (it’s available upon request, but here we are pressed to pass along the plea of our Audio Engineer to you….”Please, PLEASE, we BEG of you….please don’t bring in cassettes!”) 

Additional                      1 Sabane FBX2020  
                                     1 DBX 120XP Subharmonic Synthesizer

This is the current complement of equipment but it is subject to change at the discretion of our Sound Department.  

The Remote System
        Located in the Off-stage Right alcove, the Remote segment of the system uses a 10 channel Allen and Heath console with 2 stereo output channels.  The combo CD/Cassette player is mounted in the rack.  The Remote has 1 monitor send and no outboard effects. 

        It is important to take into account that the technician operating the Remote system is off-stage and cannot hear the house audio mix very well from that position.  It is important to have levels preset prior to the start of the event and good communication between your artistic director and our staff during rehearsals. 

Mixer:                           1 Allen and Heath WZ 14:4:2+       Manual

Playback:                      1 Denon DNT520 CD/Cassette Player Combo

The Cinema System
         The Cinema system is used for the exhibition of 35mm motion picture film; 16mm can be accommodated as well.  The projection components have been designed to exceeded SMPTE standards for superior presentation of image and sound.  This third segment of the theatre sound system accesses all house channels and also adds a dedicated Center channel as well, 2 channels of surround and an enhanced sub-bass channel. 

The surround channels are located at the extreme left and right corners of the balcony rail consisting of 2 EV-Xi 1152/64 per side.  This configuration is in agreement with THX specifications for point-source surrounds, resulting in what we call 6 Channel Total Surround MegaSound.SM  For more information about Cinema presentation at Brooklyn Center, please refer to the Cinema section.




        These three segments of the sound system are tied together by a BSS SoundWeb Digital Processor/Integrator which seamlesSpeasly integrates the entire system.  Essential processing is accomplished within the digital domain, providing 1/6 octave equalization, time-delay synchronization and signal path management.  The SoundWed maintains time integrity for the speaker systems and routes all signal paths including the three foldback sends for monitors from the console.  All eqs and time delays are set within the SoundWeb Digital Processor and are checked on a regular basis.  Under no circumstances will the client’s engineer be allowed to access or alter the SoundWeb configuration; this is not an option.  We can, however, insert 1/3-octave equalizers if your Sound Engineer has specialized requirements.   

        The flexibility of digital signal management allows different sections of the system to be isolated so that it is possible to use only part of our system to supplement your own.  For example, if you would like to use the Mezzanine or Balcony area Fill systems, you need only provide a clean microphone level signal to us and your mix can be sent to those house areas, properly delayed properly eq-ed and at the proper level.

        If you would like to set your own delay for these speakers, you may use your own external delay (remember this can only add to the delay already in the system, not reduce it) or you may ask to change the delay setting in our processor, but there is rarely a legitimate need for this and if on the rare occasion such a need can be demonstrated, it must be implemented by our House Audio Engineer and needs to be arranged with him well in advance. It will incur a substantial, additional cost as well.  Because of time constraints and other house considerations, we cannot guarantee that such requests can be accommodated.




 
        ElectroVoice speaker system are used exclusively throughout the house; for films, an additional Altec Voice-of-the-Theatre/JBL system is added for the Cinema Center Channel.  Crown Stereo amps and massive HH Electronics M900 amplifiers drive the ElectroVoice speaker systems.  The output from all three (Main, Remote and Cinema) segments are routed to the same amp/speaker system in their appropriate configurations. 

        The Left and Right Channel speaker clusters are flown near the ceiling on the left and right of the proscenium arch in an array-type design so as to take advantage of such a design.  The low-end coupling and the high end uniformity that a line array configuration affords gives the system better low-end response and a constant Q dispersion. 

        To avoid the “hole-in-the-middle” problem encountered in wide theatres such as ours, Front Fill speakers sit on the downstage edge of the stage.  Both the Mezzanine and Balcony have their own speaker compliment to assure full coverage of those areas. Each subsystem is properly time-shifted so as to present a uniform, single source of sound that, to the listener, seems to only be coming from the stage. 

        Enhanced sub-bass frequencies are achieved using 4 custom designed, fiberglass Community sub-bass bins, two on either side of the proscenium, sitting on the stage floor. 

The system's full speaker compliment (excluding cinema's Center Channel) is as follows:

Left/Right Clusters 8 EV Xi-1183/64 (4 per side)
  4 EV Xi-2181 Subs (2 per side)
Front Orch Fill 4 EV Xi-1082 (these sit on the downstage edge of the stage)
Mezzanine Fill 4 EV Xi-1082 (these are mounted under the Balcony)
Balcony Fill 4 EV Xi-1082 (these are mounted on the Balcony ceiling)
L/R Rear Surrounds 4 EV Xi-1152/60 (2 per side – these a flown in the left/right rear corners of the auditorium)
     




        Both the Main System (Center-rear Orchestra mixing position) and Remote (Off-stage Right mixing position) can send a mono signal to 4 onstage monitors that are flown in wings 2 and wings 4 on Stage Right and wings 1 and wings 3 on Stage Left.  The on-stage monitors are mostly used for dance performances, but can be used for extra reinforcement when needed.  In addition, there are 8 floor monitor wedges for placement where needed. It should be noted that there is a limit of 2 speakers per send and that the Remote has only 1 monitor send. 
  

Portable Floor Monitors 6 EV Xi-221M
  2 EV Sx-300A (powered)
Hanging Monitors 4 JBL EON18 (located in the wings)

Stage Interface Connections
The main stage snake runs from the head on the Downstage Right wall to the House Rear Orchestra mixing position; it consists of 40 sends and 8 Returns.  There are also permanent sub-snakes run to key locations on stage.  These include, 3 eight-channel snakes on the Downstage edge of the orchestra pit for a total of 24 channels.  There is a 20-channel sub-snake on the Center Upstage wall, and an 8-channel sub-snake on the Downstage Left wall as well.  We also have a number of 6 channel sub-snakes and a 12-channel sub-snake for use any where on stage. 

The Sends to the Remote are on the downstage right wall.  Cinema also has Aux 4 sends on the Downstage Right wall.




        Whitman Theatre uses Beyer Headsets into an RTS BP325 TW, duplex, two channel system by Telex.  Hard-wire junction boxes are located at the following positions:     

  • House Light Control / Main Console (Center Orchestra)

  • Sound Control / Main Console (Center Orchestra)

  • House Light Control / Auxiliary Console (Juliet Entrance, Stage Right)

  • Sound Control / Auxiliary Console  (Juliet Entrance, Stage Right)

  • Stage Manager's Desk (Stage Right)

  • Curtain Rail (Stage Left)

  • FollowSpot I (5th Floor  Booth, House Left)

  • FollowSpot II (5th Floor Booth, House Right)

        The house carries ten RTS headset units including the FollowSpots, and of course some units can be looped thru at any of the above hard-wired stations for a configuration that best meets the needs of the company.  For the unusual show which might require more than our compliment of headset units, you can bring in additional sets as long as they are compatible with the three wire, dual channel RTS system.  You must clear this with the Center's Sound Director, Chet Green before-hand so as to insure direct connection compatibility. 

The RTS system also includes a 4-channel wireless headset system that has excellent coverage on stage and in the house for wireless communication.




         Microphones and Microphone Stands from the Center’s inventory are in constant use through out the complex and need to be reserved as far in advance as possible.  The inventory includes microphones from the following manufacturers:  

-- AKG

-- Audix

-- Beyerdynamic

-- Neumann

-- Shure 

        Whatever your needs, we can almost always accommodate them.  Send a list of your requirements to our Audio Director at Chet@BrooklynCenter.com and he will contact you by email.  And of course, the sooner your requirements are in our hands, the better chance of fulfilling every item.

We are here to make sure you have a great show!