A range of d&b audiotechnik loudspeakers, including V7P three-way point-source models, were deployed for the recently concluded Broadway revival production of “Camelot” — which ran for more than 150 shows — at the Vivian Beaumonth Theater at Lincoln Center in a sound design by Marc Salzberg and Beth Lake.
Salzberg notes that the dispersion of the V7P is well-suited for the configuration of the venue, explaining, “Because the house is broken into five sections, there are specific areas that can and cannot overlap in coverage. With d&b ArrayCalc prediction software we could carefully plan with the scenic and lighting departments where our speakers needed to be for the best sounding show.
“Luckily, we already had a model of the venue from our previous shows in the Beaumont, so we were able to easily translate how ‘Camelot’ would be slightly different. Because of the large proscenium wall, we needed to know exactly where speakers would hang very early in the process so that the walls could be built to accommodate them. So, we utilized the ArrayCalc predictions software heavily in the planning phases to determine that the V7P was the right choice.”
Long-time Lincoln Center sound provider Masque Sound supplied the loudspeakers. “We are glad to continue our partnership [with Masque] on ‘Camelot’ in providing the d&b V, Q, and E-Series loudspeakers,” says Lake. “We know that the equipment they provide will be top notch, and the support we receive unequalled. They provide all that we need to craft a beautifully sounding show including microphones, processing, and speakers, in addition to the communication, monitoring and other production needs.”
Salzberg adds that the system was designed to provide localization using delay timing. “We placed the speakers so that each of the five seating sections get a left and a right speaker: so, six main point source speakers,” he says. “They are positioned so that there is overlap between each pair: 1 and 2, 2 and 3, 3 and 4, etc. This method allows for each seat to hear more than a singular source which aids in imaging.”
The theater seats 1,080 across two levels, arranged in a steeply sloped semicircular layout. It differs from traditional Broadway theaters because of a flexible stage that could be extended with a thrust stage of varying length — and in the case of “Camelot” — 180 degrees. Because of its circular (ellipsoidal) layout, efforts have been made to reduce the reflections by that shape. The rear walls are covered in two layers of thick felt and a layer of velour.
Lake says because of the thrust stage, an actor downstage on the thrust is only facing about 60 percent of the audience; the other 40 percent are seeing the actor’s side or back. “Because of the lack of ‘bounce’ from the back wall, it means that 40 percent hear very little acoustically from the stage. Of course, as the actors move, the 40 percent of the audience that needs additional help changes. This is only exacerbated by the vast size of the stage that is fully utilized by scenic designer Michael Yeargan’s set.”
The main system incorporated six V7P loudspeakers, with six Q7 loudspeakers as rear orchestra delays and seven more Q7s as balcony mains. Ten E0 point sources served as rear balcony delays and 30 E0 compact loudspeakers delivered surround. Finally, eight E6 loudspeakers supplied frontfill and four E12s reinforced proscenium left/right sources.
“We’ve been quite happy with the audience response, Salzberg concludes. “Many audience members have commented on not knowing that the show even had microphones both in the orchestra and on actors. To us, that is the highest compliment. We are simply supporting the performances on stage.”
