When the stage and house arrays are in the full-capacity position (moved all the way back against the wall), the Q7 loudspeakers residing behind the main arrays can be turned off.
Alternately, when the stage and arrays are moved all the way forward, the Q7s are put into service to catch corners of the balcony now lying beyond the reach of the main arrays.
Matter Of Choice
Both analog and digital options are offered out at the front of house mix position, located at the center/back of the main floor.
A compact Avid D-Show Profile serves as the default selection these days, and for those preferring the texture and feel of analog, an Audient Aztec console is kept on hand, providing 40 mono channels, eight subgroups, 12 VCAs, L-C-R panning, and effects returns found in the middle of the desk.
“We initially placed a splitter right at the house mix position,” Vitale explains, “so visiting engineers could walk right in and just mix at either desk no problem.”
“There weren’t even any patching issues to contend with.”
“Because of space issues, we ultimately had to make the Avid the default, but if someone requests it, the Audient will be out and ready when they need it.”
Monitorworld controls at the club are manned by Chris Robb, who is also known in recent times for his work on the road with The Strokes.
With hopes of expanding the onstage realm in the future, currently EAW monitor components manage tasks at hand in the form of a collection of model SM200iH (single 12-inch) and SM400iH (dual 12-inch) wedges.
Crest Audio CA 12s are the amplifiers on deck, while dbx 480 crossovers divide signals and a Yamaha PM5D digital console serves as Robb’s working palette.
Co-owned by Rich Heinecke and Seth Hurwitz, the 9:30 Club won “Top Club” honors at the 2007 and 2009 Billboard Touring Awards.
Acts currently booked for February 2011 include Cowboy Mouth, Jimmy Eat World, Slightly Stoopid, and Drive-By Truckers.
Gregory A. DeTogne is a free-lance writer and publicist who has served the pro audio industry for the past 30 years.