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dBTechnologies VIO Arrays Employed To Revitalize Sound At The Viper Room

Dual arrays of VIO L208s flank the stage, with six DVX SM 12 wedges on stage and a downstairs lounge area covered by Ingenia IG1T loudspeakers.
Country band Feed the Kitty onstage at the Viper Room, with one of the venue's new dBTechnologies VIO L208s arrays flying at left.

It’s been more than 25 years since Johnny Depp launched the Viper Room at 8852 Sunset Boulevard in West Hollywood, and helping to mark the occasion is a revitalized sound system employing dBTechnologies VIO L208 active line arrays.

First opened in 1993, the Viper Room has played host to headliners like System of a Down, Tom Petty, Johnny Cash, and countless other local and national acts. One of the oldest commercial buildings still in use on the Sunset Strip, it stands out in contrast the onward march of luxury hotel developers that have come into the neighborhood in recent years.

“A lot of people are saying this part of town is undergoing an identity crisis,” says general manager Tommy Black. “Well, we’re still as true to our origins as ever. We’re a small space with high-energy acts, and our house acoustics are unique. I think that’s partly because of the materials used to build this place. There’s old wood in here. Local mobsters from the past like Bugsy Siegel and Mickey Cohen may well have loved this wood as much as I do. It gives the whole room the quality of a fine, vintage amp cabinet.”

Faced with the prospect of reaching the end of its previous PA’s useful life, the venue opted recently to add six dBTechnologies VIO L208 loudspeakers to its main room. Flown in arrays of three each left-and-right of the stage, the L208s were installed along with compact Ingenia IG1T enclosures that cover a downstairs lounge area. Onstage, a half dozen DVX DM 12 TH bi-amped wedges serve as a final complement to the revitalized audio blueprint.

“Now we have the best PA ever in the club’s history,” production manager Tyler Kunze says without any reservations. “The coverage is wider, there are no dead spots anywhere. The vocals are upfront, the intelligibility and clarity have never been better. When I’m mixing, everything comes out of the master bus clean, warm, and clear—I don’t have to EQ anything.”

“Hey, he stole my quote,” Black adds. Together, the two are a duo on par with any of the greats: Brothers Angus and Malcolm Young, Kevin DuBrow and Rudy Sarzo, maybe even Nikki Sixx and Vince Neil. “But he’s right. I’ve been here 18 years and it’s the best I’ve heard. Things have changed so much for the better that now when I hear some of the regular acts, at first I think I’m listening to a new band that’s never been here before.”


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