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LDS Conference Center Makes Sound Improvements With L-Acoustics
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The LDS Conference Center house audio crew (L-R): system tech Troy Morgan, FOH engineer Chris Martin, monitor engineer Curt Garner and sound engineer Joey Russell; below is a view of the conference center with the new L-Acoustics system elements in place.

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Salt Lake City’s 21,000-seat LDS Conference Center, the main meeting hall for conferences of the Church of Jesus Christ of Latter-day Saints and summer and Christmas holiday home to the famed Mormon Tabernacle Choir, recently expanded its sound reinforcement system with the addition of new L-Acoustics KARAi, SB18i and KIVA arrays.

Installed by Poll Sound, L-Acoustics’ local Certified Provider for install, rental and distribution channels, the new systems—which are primarily used for speech reinforcement and musical augmentation—complement an existing dV-DOSC and dV-SUB music reinforcement system provided by the same integration team six years ago.

According to Poll Sound general manager and lead sound system designer Deward Timothy, the most recent install is made up of two parts: an exploded center cluster for the front lower bowl seating and a delay ring for the rear lower bowl seats.

The front lower bowl system features three arrays of 10 KARAi enclosures fanned out in an LCR arrangement blanketing coverage to the main aisle approximately 100 feet back. Low frequencies are supplied by two cardioid sub arrays each consisting of three SB18i hung between the KARAi arrays.

A delay ring consisting of seven arrays of four KIVA modules covers the rear lower bowl seats on the backside of the main aisle. With the far rear corners a considerable distance from the center cluster, two more four-element KIVA arrays were installed to extend coverage to those areas. Furthermore, two additional arrays were installed over the rostrum area to provide both front-fill and masking of any remaining rear-of-room reflection.

Power and processing for all of the new speaker components are supplied by a combined total of 14 LA8 and LA4 amplified controllers.

Chris Martin, who has served as the FOH mix engineer for the 360-voice Mormon Tabernacle Choir and 110-piece Orchestra for more than a decade, describes how the new exploded center cluster and delays have improved services and events.

“Many of the leaders of the Church of Jesus Christ of Latter-day Saints are soft-spoken individuals, so our job is a bit like trying to reinforce a whisper, which can be a challenge in a room of this size,” Martin notes. “We measured one of our quietest talkers on our previous system last year at 50 dB; the gain-before-feedback was next to nothing. With the KARAi, however, we were able to bring him up another 20 dB, so the difference has been huge.

“Although we used to get multiple complaints from audience members who couldn’t hear, we recently filtered 125,000 people through the center in one weekend for our General Conference and had zero complaints—not one! That’s quite a testament to the new system’s clarity and intelligibility.

“Plus I find that I rarely use any EQ these days. What used to require layers of outboard 31-band EQs—in addition to parametrics on the channel strip for a podium mic—has been narrowed down to just a tiny bit of filtering on our Yamaha PM1d’s channel strip.”

Martin also points out that the addition of the KARAi enclosures has not only perfectly complemented the preexisting dV-DOSC arrays but breathed new life into them as well.

“Because our primary house arrays are spaced so far apart—nearly 150 feet—we mix music in an LCR format,” he says. “With our previous center cluster in the room, we essentially had to ‘dumb down’ the voicing of the dV-DOSC arrays somewhat to maintain sonic consistency between all three output channels. But now that we’re using KARAi, we’re able to let the dV-DOSC do what they were meant to do in the first place and it sounds beautiful. Choir conductors and officials absolutely love the transparency and sonic quality of the new system. We finally have the answer to what we’ve been looking to achieve for years.”

Timothy, the designer, adds, “Our goal with this most recent project was to engineer and install a system for the lower bowl that still accomplished the original goal of high intelligibility, but also offered higher quality and optimal gain-before-feedback. After the very first production with it in December, comments of praise poured in from everyone including the golden-ear mix engineers, ecclesiastical leaders, musicians, building officials and audience members alike. In terms of subjective quality, this system truly hits a home run.”

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Poll Sound
L-Acoustics


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