Plenty Of Digital
The client stipulated a preference for Yamaha digital consoles based on familiarity, with a study of available models leading to the selection of two Yamaha MC7-48 models – one for the house and the other for monitors. Both are built into portable road cases (along with their respective stage boxes and mic preamps) so that they can be stored in an equipment room, as well as easily moved around wherever they’re needed in the arena, pending the system configuration.
“We determined that both the Yamaha PM5D and PM1D were a little bit of overkill for this application, so focused on the M7CL, which is a fine board with plenty of capability,” Johnson explains.
“And, Yamaha had just come out with the EtherSound stage box, which is an attractive option and one that we wanted for the house console. And, we also wanted to utilize a digital snake of some sort so that all of the mic preamps were as close to the stage as possible.”
Further, both house and monitor consoles are equipped with CobraNet output cards, so if, for example, the house console has a problem, the monitor console can be seamlessly swapped in, and vice versa. All of the monitor outputs are identical in their assignments, furthering the ubiquitous nature of the two consoles.
Another handy feature of the boards is that although the 48 analog inputs are replaced by EtherSound ports, the M7CL-48ES retains eight OMNI inputs and eight OMNI outputs that can be used for direct analog connection. These provide an ideal way to insert outboard processors and other equipment.
The sound team also put together a portable rack with components for basic stand-alone use and to provide some additional enhancement at the front of the house.
It includes a Rane MLM 65 6-channel analog mixer for low-channel- count, light-duty mixing, joined by a BSS FCS-960 graphic EQ inserted on left and right outputs, and a Denon DN-C550R dual CD player/recorder retained from the previous system.
The rack also incorporates a custom panel providing six microphone and two stereo inputs, as well as two line-level outputs. “We wanted a simple option, one that is easy to use and all of that good stuff,” Johnson notes. “So it works as a stand-alone solution for small applications, in addition to offering additional EQ and sound source input when patched in for larger productions.”
As with all other electronic system components on this project, rock-solid surge protection is provided by SurgeX SX Series units in the rack. “You just can’t beat SurgeX when you’re serious about protecting your gear,” Johnson adds.
Blanket Coverage
Johnson performed EASE modeling in determining loudspeaker layouts that would ensure optimum coverage when the system is in its distributed PA and concert modes. The arena is a “typical” configuration, with seating surrounding the main floor all the way around and split into upper and lower levels. Sightlines are excellent – there isn’t a bad seat in the house.