Dramatically Different
In addition to measurements, listening tests were also performed using the test stimulus.
To assist with this portion, Grammy Award winning multi-instrumentalist Randy Raine-Ruesch was invited to play a large array of complex instruments; in fact, he brought in a collection of about 30 of the hardest instruments to mic, including the Japanese Sho and Ichigenkin, nose flutes from Borneo. All of these are very different, and all are capable of incredibly complex harmonics and overtones.
“Because our room has dramatically variable acoustics (reverb decay times ranging from 2.6 to 4.9 seconds), and because the expectations for clarity of tone by the artists who grace our stage is so high, it was important to have products that not only provided a clear and concise frequency response, but were flexible, so we could adjust numerous parameters in very subtle ways,” O’Keeffe notes.
Raine-Ruesch’s opinions and observations of the tonal quality, depth of field and overall performance were another valuable asset in the selection process, with O’Keeffe adding, “It was interesting that one product that had some of the best results as per the AES standards was among the least musical and had the poorest depth of field, and it was apparent within a few seconds of hearing a musician playing live.”
After an initial round of testing, three preferred products were shortlisted and re-evaluated in numerous scenarios. Each model was also utilized for a one-month period during numerous performances in the hall.
“This allowed for the greatest number of staff to use each product and assess its ease of operation and overall performance,” O’Keefe says. “We also solicited the comments and criticisms of the artists who utilized the products during concert presentations.”
From this exhaustive process, Adamson M15 wedges emerged as the choice, with 10 added to the Chan Centre inventory, where they were immediately pressed into duty. The M15 is outfitted with a 15-inch cone woofer joined by a 4-inch diaphragm compression driver on a 50-degree conical waveguide.
“The M15’s conical waveguide was specifically designed to minimize distortion while providing smooth response at varying performance heights, all the while keeping off-axis energy to a minimum,” states Ewan MacDonald, Adamson applications engineer. “Many floor monitors perform well when an artist stands at a microphone, but not when the artist sits down. Our waveguide does not have this problem.
“We also believe our Kevlar cone architecture delivers superior linearity and frequency response which results in accurate reproduction at all listening levels, something that is very important for artists.”
O’Keeffe simply states, “The M15 out performed monitors of a similar size and price point, not to mention greatly out performing some of the most requested models at a significantly higher price point.” The new monitors are driven by new PLM 10000Q amplifiers that were also added as part of the upgrade. Companion flight cases are used for easy transport of the wedges, while the amps are mounted in a portable rolling rack.
The amps allow the option of providing multiple variations of the same mix, “It’s not uncommon for the horn section of a big band to share the same mix.” O’Keefe concludes.
“Invariably, however, it’s too loud for the saxes and not bright enough for the trumpets, and the trombones want a little more low end. Since we have the PLM 10000Q, which has four amp channels, we can use a common EQ at the input stage and vary the EQ, level and so on at the output stage, allowing us to contour the mixes to better suit the individual needs of the horn section.”