Selecting equipment is a critical task for a production company, and Moran Jr. makes it a priority, doing research in industry publications, at trade shows in the U.S., and listening to new gear that comes to the country via dealers and/or other companies.
This approach applied when the company began investigating a new line array rig about seven years ago, concluding that a ribbon driver approach was most suitable to their client roster, as opposed to conical sources modified through narrow beamwidth horns.
Todo Audio approached SLS Audio to obtain a trial system, and based on the success of that experience, chose to invest in the Missouri-based company’s ribbon-driver-loaded arrays.
Today, the company inventory includes 24 LS-8800 elements with dual 8-inch drivers and planar ribbon transducer for high frequency reproduction, as well as 24 compact LS-6500 elements with a single 6.5-inch driver plus a ribbon driver for HF. (The LS-6500’s were deployed for the shows in Antigua.)
With six performances scheduled over almost a month – and only a pair of them back-to-back – staging and production needed to be transported from Todo Audio’s facilities in Guatemala City, assembled for the show, and then dismantled several times.
One of the SLS LS-6500 line arrays flown for the event. (click to enlarge)
The setting, Centro de Formacion de la Cooperacion Espanola, is an elegant complex that spans most of a city block, and is built around the ruins of an ancient cathedral that fell about two centuries ago during violent earthquakes generated by surrounding volcanoes.
After the staging and truss were set, left and right arrays of SLS LS-6500 modules were hung on both sides of the stage. Moran Jr. noted that the positioning of the arrays within the truss was a technical/budgetary constraint that limited the ability to create his desired splay between the enclosures.
The position of the crossbars of the truss in front of some of the cabinets slightly compromised HF response, but only to a few seats. Given that the courtyard was bordered by a trafficked street with businesses on the other side, he sought even coverage of the audience area that attenuated adequately once it passed the sidewalk.
The arrays were powered by rack-mounted Camco Vortex 6 amplifiers, joined by XTA DP226 digital processors providing the filter sets for the line arrays, as recommended by SLS Audio. The system crosses from the subwoofers to the arrays at 100 Hz, with a crossover point of 1,500 Hz to the ribbon drivers.
For this show, just a pair of TOPP Audio back-firing dual 18-inch subs were required, driven by a Crest Audio CA18 amplifier. (The company also owns NEXO, Clair, and Community subs.)