Updating the Hollywood Bowl

Transcription

1 Updating the Hollywood Bowl The landmark Hollywood Bowl has upgraded its sound system with a new L-Acoustics K1 line array, driven by a DiGiCo SD7 digital console. Mel Lambert reports from California... Formally opened in July 1922, with patrons seated on simple wooden benches laid out across the natural hillside of Bolton Canyon, the Hollywood Bowl has presented the works of a wide cross-section of musicians, ranging from The Beatles, Frank Sinatra and Barbra Streisand, through jazz, ballet and opera to orchestral music. Now a Los Angeles cultural landmark, and one of the largest natural amphitheatres in the world, during the past 90 years the venue has been through several interesting changes; it also serves as the summer home of the Los Angeles Philharmonic and, since 1991, home of the Hollywood Bowl Orchestra. Extending 470ft (143m) from an acoustical shell, and rising to some 120ft (36m) above stage level, the 17,500-seat amphitheatre poses a number of technical challenges. For our orchestral events, the front-row patrons want the intimacy and natural sound of a classical concert, says sound designer and consultant Fred Vogler, and do not want to see or hear a PA system. The remainder of the audience comes to the Bowl for not only the scintillating music but also a wonderful ambiance. We need to provide high-quality, consistent sound across a wide seating area, yet not let the sound spill onto the neighbouring properties. It s a challenge to which we rise every year. As part of a continuously evolving design that takes advantage of the very latest sound technology, the consultant continues, this year saw installation of an 136 LSi - October 2013

2 Facing page: The Hollywood Bowl with its previous V-DOSC/dV-DOSC audio system and (above) with the latest K1/KARA upgrade. all-new sound reinforcement system a month before the summer season, which officially began on 22 June. For the past nine years, since the entire shell was replaced in 2004, we have been using an L-Acoustics V-DOSC/ dv-dosc line-array rig powered by LA-48a amplifiers via Dolby Contour systems, states Vogler, who this year celebrates his 11th season with the Hollywood Bowl, mixing a range of productions with the facility s master audio, Michael R. Sheppard. The 2004 renovation, funded by an $18 million (approx 11 million) LA County ballot proposition, was co-directed by Hodgetts+Fung Design and Gruen Associates, and included the construction of a new shell and stage area. Fisher Dachs Associates coordinated theatre planning and design, while Jaffe Holden Acoustics oversaw acoustic design. A set of adjustable reflectors was fabricated above the orchestra on a 90ft x 60ft (27m x 18m) elliptical structure that also supports the lighting fixtures. Motorised side sections were designed to accommodate rock-and-roll trusses for leased events. The custom-designed acoustic canopy varies in height from 28ft (8.5m) upstage to 32ft (9.8m) downstage, and is set at a 10 angle. Overall dimensions of the enlarged proscenium are 111ft x 53ft (34m x 16m). The new sound system features L-Acoustics K1 line-array cabinets powered by L-Acoustics LA8 and LA4 amplified controllers, with overall system control from L-Acoustics IP-based LA Network Manager application via the firm s LA-NET protocol. Sound-mixing duties are handled by a pair of 52-fader DiGiCo SD7 assignable digital consoles for front-of-house and stage monitor duties - the latter normally helmed by Kevin Wapner, assistant audio/video. The venue s summer season opened with a concert by the Hollywood Bowl Orchestra and the induction of Aerosmith s Steven Tyler and Joe Perry, Patti Austin and John Legend into the Hollywood Bowl Hall of Fame - following prior concerts by Fleetwood Mac, Andrea Bocelli, Björk and The Playboy Jazz Festival. The new system provides excellent coverage across the entire audience area, Sheppard states. We have the same level of sound fidelity left to right and back to front; everybody gets a great seat! And since we need to be concerned about not bothering our neighbours, the K1 also offers better sound containment [than its predecessor]. Enhanced Sonic Fidelity From microphone pre-amplifiers to loudspeaker inputs, the signal path is fully 24-bit at a 96kHz sampling rate, Vogler stresses. The enhanced fidelity offered by 24/96 operation was obvious as soon as we powered up the new system [in early May]. Sound coverage is smooth and remarkably even from the front boxes all the way back to the rear, more than 450ft (137m) from the array. Capitalising on 15 years of developing wavefront sculpture technology, the K1 line source incorporates three-way, quad-amplified enclosures that feature a new K transducer arrangement, with added resources within the HF section. The combination of our new K1 and SD7s is totally remarkable, adds Sheppard. The K1 is fast and agile, with smooth, even coverage across the entire frequency spectrum - I measured a response that was within a couple of dbs throughout the entire seating area. This is definitely the Cadillac of Sound Systems - it s performing exactly as we had expected. The new left/right flown array system comprises, from top to bottom: four K1-SB subwoofers, 16 K1 three-way and four KARA two-way enclosures per side, augmented by a centre cluster of eight KARA cabinets for front seating areas, and an SB28 subwoofer deck system. A total of 20 LA8 amplified controllers power the main rig, with two more for the centre cluster. Normally supplied with a maroongrey finish, the Hollywood Bowl s K1 array and deck system was custom produced in white; currently, it is the only rig installed at a permanent venue - all the others are LSi - October

3 venueinstallation Top, right: Michael R. Sheppard and Fred Vogler. Above, from top. Loudspeaker positions: the new left/right flown array system comprises, from top to bottom, four K1-SB subwoofers, 16 K1 three-way and four KARA two-way enclosures per side; augmented by a centre cluster of eight KARA cabinets for front-seating areas - and an SB28 subwoofer deck system. used in touring systems. It s a handsome looking system, Vogler confides. And the K1 is rider-friendly for rock events. The deck system comprises four L-Acoustics ARCS II two-way active enclosures per side, augmented by eight SB28 2x18 subwoofer enclosures; a total of six LA8 amplified controllers power these systems. A total of 12 ultra-compact L-Acoustics 5XT two-way coaxial enclosures and eight KARA enclosures are available as a stage-lip system for front seating areas, powered by a pair of LA8 units. A total of four L-Acoustics 115XT HiQ two-way coaxial enclosures - one per house lighting tower - provide tower fills, powered by four LA4 units. Stage monitoring is handled by two L-Acoustics ARCS II per side as on-stage side fills, powered by a single LA8; a bank of Crown it8000 power amplifiers also is available for leased and other events. The previous V-DOSC system was about 30% larger than the new K1 rig, states Scott Sugden, head of L-Acoustics US application, touring, and who for the past five years has been responsible for final tuning of the Hollywood Bowl system. Because the K1 cabinet produces 3dB more output that comparable V-DOSC enclosures, the left and right arrays have been reduced from 18 enclosures to 16 per side. Even though we probably only need 12 K1s per side to produce the same output as the original 18 V-DOSC cabinets, we opted for 16 to provide extra output and additional headroom. The reduced box count also means that we only need three chain hoists per side, Vogler adds, whereas before we needed eight. And there is now less on-stage spillage than we had with the V-DOSC system, which was hung higher up; the K1 is more directional. During the decade since the 2004 system was installed, the main LCR array has gradually been lowered. Originally, the system was mounted as high as possible to provide better SPL across the venue, Sugden explains. But the perceived sonic separation of the sound system and on-stage performers confused a lot of patrons, and diminished the live experience. During the intervening years, Fred [Vogler] and I decided to lower the systems by 15 feet (4.6m), with the central array being dropped below the lighting rig. We still secured a good reach to the back of the seating areas, and the [reduced sound disparity] felt a lot better. The four K1-SB subwoofers we specified for the top of each of the left and right arrays to reduce the amount of low-frequency energy on stage, and produce better SPL within the amphitheatre. The SB subwoofers extend or lengthen the line array at low-end frequencies seamlessly, to provide more control of LF energy across the width of the venue. The K1 full-range cabinet, which features a pair of 15 LF transducers, three HF drivers and four 6.5 MF transducers in a K-shaped layout, operates from 35Hz to 20kHz, with the K1-SB LF extension producing the same bandwidth as the K1 low-frequency channel. The 3 db increase in output [compared to the older V-DOSC design] results from better venting technology and enhanced transducers that offer improved efficiency, Sugden says. We also have new mid-range drivers with high-excursion capabilities that are very linear at all output levels. Compared to the V-DOSC s V-shaped mid-range housing, which mounts the drivers close together in the horizontal plane, but causes adverse effects in the horizontal pattern, the K1 utilises a pair of MF transducers in each plane, a configuration that ensures a smoother, more consistent performance and better horizontal coverage. That, together with three rather than two HF drivers, means that for the same cabinet size and weight the K1 delivers more useable power across the frequency range. The improved efficiency also results in a 32 foot main array made up 138 LSi - October 2013

4 of 20 boxes per side, - plus down-fills - that operates down to 35Hz, adds Sugden - and hence reduces the need for additional subwoofers. The system s performance was eyeopening, even before we started tuning it, Sugden recalls. With smooth, consistent coverage from the front to the back of the Bowl thanks to the K1 s enhanced coherence in the far field. While there might be a small drop in overall level 400+ feet in the rear, the musical tonality does not change, meaning that all patrons will hear the same sound throughout the venue. It is a more natural sound, which is particularly important for classical performances. The LA4 and LA8 amplified controllers feature two analogue/digital inputs and four loudspeaker outputs; the LA4 provides 1kW of RMS of motive power and the LA8 1.8 kw. To reduce loudspeaker cable runs, the controllers are located in a pair of second-floor amp rooms directly adjacent to each line array. The LA4 s and LA8 s built-in DSP provides fully programmable gain, EQ, delay and dynamics control, Sugden adds. The IP-based control system uses our LA Network Manager software running on a Windows laptop to adjust all system parameters and store them as recallable sessions. We provided the Bowl with two primary sessions: Pop Music, which boosts the ground subs and the LF content of the arrays; and Philharmonic, which attenuates the low end, but otherwise offers the same coverage performance. We can also individually address each of the 5XT cabinets that make up the stage-lip system, to ensure even coverage via four discrete zones for the first 10 rows of the [former] pool area directly in front of the stage, and which is used to reinforce vocalist and soloist. Eight KARA twoway cabinets also are available as optional front-fills for use in higher SPL events. As Vogler stresses: The array morphing functions available with the L-Acoustics network manager software will let us electronically re-design the systems to effectively lengthen or shorten the array as necessary to suit the concert conditions. All-Digital Signal Path The front-of-house DiGiCo SD7 console features three banks of 12 assignable channel faders and a central bank of 12 master faders for subgroups and VCA-style masters, providing 256 signal paths with full processing. I have access to a total of three layers with six presets Lighting the Hollywood Bowl According to Paul Geller, production director for the Los Angeles Philharmonic, the current lighting system has evolved during the past decade to offer a wide range of flexibility for classical concerts as well as leased events. Our permanent system comprises a number of Martin [Professional] and ETC fixed and moving instruments, programmed from ETC Eos and Martin M1 controllers, Geller states. It is arrayed across the acoustic halo and a series of electric trusses. The stage-right and -left downstage halos each contain four Martin MAC Viper moving lights, two Martin MAC 2000 Washes with PC lenses, six Ianiro Bambino/Baby 5Ks, and 12 ETC Source Four 19 fixtures. Electric #1 provides four Martin MAC 2000 Washes with PC lenses, two Martin MAC 700 Profiles, 10 Martin MAC TW1 washes, six Ianiro Bambino/Baby 5Ks, and a single Source Four 19 fixture with Leko lens tube; Electric #2 provides four Martin MAC 2000 Washes with PC lenses, four Martin MAC 700 Profiles, a single Martin MAC Viper, 10 Martin MAC TW1 washes, five Ianiro Bambino/Baby 5Ks, and two Source Four 19 fixtures; Electric #3 provides eight Martin MAC TW1 washes, three Ianiro Bambino/Baby 5Ks, and a single Source Four 19 fixture. For classical concerts, we aim to set a mood for the music. Our biggest challenge, however, is to guess colour percentages during afternoon rehearsals in sunlight and then light the event for an evening performance. It comes down to experience of the venue, working out basic lighting plots on paper, and then programming the lighting controllers. While Geller is on-site for all concerts at the Hollywood Bowl and lights the Tuesday and Thursday LA Philharmonic performances, Jay Winters, of J. K. Design Group oversees lighting design for all other events - often working closely with guest lighting directors. venueinstallation Pro-Gaff Premium Gaffers Fluorescent ISO 9001:2008 Certified LSi - October

5 per layer, Vogler explains. For orchestral concerts, I might have between 80 and 90 microphones on-stage, and normally assign string, brass, horns, percussion and overhead mics on Layer 1, the rhythm section on Layer 2, and playback sources, including any walk-in music, to Layer 3. The SD7 is so fully featured that the more I use it, the more I find I can do. Dynamic EQ and multiband compression are available on all signal paths, with up to 48 stereo effects and 32 graphic equalisers for aux/monitor sends. Groups outputs are assigned to a built-in routing matrix and then to the L-Acoustics amplifiers, Vogler continues. I normally have a 30-in/24-out matrix to handle everything I need, including the main left and right arrays, the smaller-cabinet left and right systems, the central array, deck-left and -right, plus the deck subs. Multiple AES-format ports connect the FOH and monitor consoles to the all-digital L-Acoustics processing racks. Also available at FOH is a Yamaha PM5D digital console for visiting guest mixers. To ensure uninterrupted operation, the SD7 s architecture utilises redundant engines that automatically swap within a single sample and backup power supplies. We also plan to copy my entire snapshot settings across to Kevin [Wapner] SD7, so that his monitor console can take over if my control surface fails for whatever reason, Vogler explains. The pair of SD Series control surfaces/dsp engines connect via an Optocore fibre-optic ring network to four SD processing racks, which house a number of analogue and digital/aes-format inputs for stage and replay sources, plus analogue and AES/digital outputs for the L-Acoustics amplifier/controllers and stage monitoring. The console systems were installed and commissioned by a team lead by Rod Sintow, CEO of Pro Sound & Video. Several years ago I used an SD7 console during the Star Wars: In Concert world tour; I was extremely impressed with the sound quality and easy-to-learn user interface, Vogler recalls. Our SD7 at front-of-house represents a truly significant upgrade from the previous Yamaha PM1D console. The SD7 s proven in-use reliability and redundant-engine design, together with multi-operator touchscreens, output matrix, CG/VCAs, built-in effects, dynamic processing, optical interfaces and Super FPGA floating-point processing, are essential for us. The fact that last year DiGiCo consoles were utilised on the majority of Billboard s Top 10 Grossing Tours is definitely a cherry on the cake! Our new system offers a very flexible workflow for various types of music, Sheppard considers, ranging from the LA Philharmonic concerts on Tuesday and Thursday, our jazz programmes on Wednesday, and pop programmes on Friday, Saturday and Sunday. We can develop various template sessions on the console, plus system setups on the network software, and recall them at the press of a button. With its high degree of configurability and intuitive layout, which makes it easy and fast to operate, the SD7 is the finest console I have ever worked on; it s a major development for us. Upon first hearing the new system, I was immediately struck by its clear and highly accurate sound quality, emphasises Paul Geller, the Los Angeles Philharmonic s production director. In addition, the equal coverage across the amphitheatre, and from the front of the stage through the mid-house to the back, is outstanding. To date, I ve never heard an outdoor system that sounds better than our new K1/SD7 combination, Vogler concludes. I don t want anywhere else to sound better than the Hollywood Bowl! > > The Global Event for the Rigging Community BOOK YOUR PLACE NOW! 140 LSi - October 2013