An interim audio upgrade at the 1,400-seat Castro Theatre in San Francisco, a historic landmark dating back to 1922 that has reopened under a new operating agreement with Berkeley-based Another Planet Entertainment, incorporates Meyer Sound loudspeakers and supporting components for reinforcing motion pictures as well as presentations and panel discussions in a project headed by UltraSound (based in Petaluma, CA).
A full program of film festivals and special screenings is now undersay, with a total renovation of the facility slated for later this year. Among the first events at the reopened theater, which is a cultural nexus for the city’s LGBTQ+ community, was the San Francisco premiere of Everything Everywhere All at Once, a new film directed by Dan Kwan and Daniel Scheinert, collectively known as Daniels.
“A few weeks ago, we hosted a private showing of a new movie from Disney Pixar which was booked by the same independent promotion agency,” says Mary Conde, senior vice president at Another Planet Entertainment (APE). “Apparently, they liked what they saw — and heard — because they immediately asked to have this premiere at the Castro.”
When APE first assumed management, one of the first orders of business was to upgrade the theater’s aging cinema audio. Conde reached out to Josh Osmond, director of operations at UltraSound, and he supplied a replacement LCR screen channel system comprising eight MSL-4 full-range loudspeakers in an upper/lower configuration for coverage of the orchestra and balcony: one pair each for the left and right channels, and two for the center. Three 650-P subwoofers supply low-frequency reinforcement.
Meyer Sound also supplied a small line array system for voice address in presentations and panel discussions during film festivals, and also appropriate for intimate acoustic and ambient music. “These interim systems have been a godsend for getting the Castro back up and running, and our patrons have noticed the improvement” says Conde. “But this is merely a sneak peek at what we will offer in terms of audio quality after the renovations in the fall.”
According to Conde, APE will be working with the Shalleck Collaborative theatrical consultants as well as Meyer Sound and UltraSound to develop the new audio systems that will provide reproduction for both cinema showings and live concerts, noting that the dual focus will require a substantial investment in audio.
“We know the stakes are high, and we have to offer a system that can meet the expectations of discerning audiences that come to a world-class film festival,” Conde states. “But we also need to offer sound reinforcement for anything from a director speaking through one mic to a rock concert, with consistent quality and clarity throughout. Meyer Sound is one of the few companies — maybe the only one — that can offer that kind of seamless quality in both music and cinema systems.
“I’m really looking forward to hearing our new, permanent systems, but in the meantime these interim solutions have helped put the Castro Theatre back in the limelight. I would like to thank Josh at UltraSound and John Monitto at Meyer Sound for making this happen on very short notice.”
The Castro Theatre was designed by Timothy L. Pflueger, a San Francisco native who, as an architect and interior designer, is responsible for many of the city’s most notable movie theaters, hotels, and office buildings. The Castro Theatre is owned by the grandchildren of the founding Nasser brothers.
