PA, FOH and Monitor System Main PA The system is predominantly Meyer Sound and is driven by two Meyer Sound Galileo 616 digital processors, which provide the time alignment and EQ for each part of the system including ancillary loudspeakers, if required. Flown arrays Main L/R: 1 x M3D - SUB 1 x MEYER MILO 60 4 x MEYER MILO 90 2 x MEYER MILO 120 Centre: 8 x MEYER M ELODIE Out fill L/R: 2 x RENKUS HEINZ TR 12-1 Stage PA 4 x MEYER HP700 Sub 4 x MEYER UPJ out fill 4 x MEYER M1D front fill Foldback Upon request up to 4 mixes from FOH UPJ (flown on the back of the centre cluster) 8x d&b MAX15 monitor wedges Front of House Choice of FOH sound consoles: DiGiCo SD7 with Waves option fitted (hirer must provide own Waves servers and licences) DiGiCo SD9 with Optics fitted DiGiCo I/O Options available depending on requirements: o 1x SD Rack 56 Inputs / 24 Outputs o 1x SD Mini-Rack 24 Inputs / 8 Outputs o 1x D-Rack (with Optics) 32 Inputs / 16 Outputs o 1x SD Mini-Rack 16 Inputs / 16 Outputs this rack is permanently installed providing input to the PA system processors Midas H2000 40ch (36 mono/ 4 stereo) + (16ch extension wing is available on request). Total: 52 mono Input Channels. Yamaha M7CL-32 (32 mono/ 4 stereo) Yamaha LS9-16 In-house help and support is provided when using our consoles.
The FOH rack consists of: 2 x Drawmer DS404 Gate total 8ch 3 x BSS DPR-404 Compressor total 12ch Klark Teknik DN3600, programmable Graphic EQ (usually over Left & Right) Klark Teknik DN3601, slave unit for DN3600 (usually over Subs + spare) Klark Teknik DN370, 2x 30 Band Graphic EQ (usually over Centre & Front Fills) Tascam DA20 mk 2 CD Player The effects rack consists of: Lexicon PCM 91 Digital Reverb TC M-3000 Multiple FX processor Yamaha SPX 990 Multiple FX processor Roland D2 Echo The EQ rack consists of: 3 x Klark Teknik DN370, 2x 30 Band Graphic EQ Available on request: Avalon 737 Typical Monitor system subject to availability and requires quoting 1x Midas Heritage 3000/SD7/PM5D 12x channels KT DN360 EQ 2x channels gates 2x channels compressors 1x REV500 or equiv 12x channels power and control for: 14x actively powered 15 inch with horn wedge monitors All equipment details are subject to change. Tie Lines - Stage to FOH Mixing Position Audio FOH mix position to stage has 72 lines + 12 returns all on XLR tails FOH, with monitor desk splits (also on XLR tails situated SL) and 12 way floating XLR stage boxes onstage. There are dedicated Optical Con patch points at FOH, on stage (SR and SL), and various other locations around the venue for linking into the DiGiCo fibre network. An Optical Con to HMA optical connector convertor box is also available upon request. Data Extensive Cat6 patching capability around the venue including: 4 points at FOH and 2 at SR and SL. FOH, SR and SL all have the following tie lines to the projection room: 6x BNC (HD SDI / MADI) 8x Multimode fibre on ST connectors 4x Singlemode fibre on LC connectors
Communications 2 Channel wired RTS comms are provided Telex Radio comms system comprises of a Telex BTR700 Base Station, and 4x TR700 Wireless Beltpacks. Radio Frequencies Concert Hall Channels used for Shure UHF-R radio microphone system in the Concert Hall and Telex Wireless Comms Packs. ANY INCOMING EQUIPMENT MUST BE TUNED TO THESE RADIOMIC FREQUENCIES UNLESS A SPECIFIC LICENSE IS OBTAINED FROM JFMG http://www.jfmg.co.uk/ 1 Shure UHF-R 1 608.175 Ch 38 2 Shure UHF-R 2 616.425 Ch 39 3 Shure UHF-R 3 621.100 Ch 39 4 Shure UHF-R 4 624.500 Ch 40 5 Shure UHF-R 5 631.800 Ch 41 6 Shure UHF-R 6 632.200 Ch 41 7 Shure UHF-R 7 635.750 Ch 41 8 Shure UHF-R 8 637.425 Ch 41 9 Shure UHF-R 9 639.325 Ch 42 10 Shure UHF-R 10 646.325 Ch 43 The table below shows frequencies permanently in use for our Telex Wireless Comms system, and incoming equipment must avoid these frequencies. Base Telex BTR-700 522.300 Ch 27 1 Telex TR700-1 632.700 Ch 41 2 Telex TR700-2 633.175 Ch 41 3 Telex TR700-3 634.500 Ch 41 4 Telex TR700-4 637.000 Ch 41 Power Both sides of the stage have the following on Ceeform: 1x 125A 3, 1x 63A 3 and 2x 16A 1, as well as 1x 110VAC 16A all available for Sound, AV and Backline power.
Microphone List Brand Model Misc Quantity AKG C414B-ULS 4 C414B-XLS 2 C451 1 C460 Cardioid C61 head 9 C460 Omni C62 head 2 C460 Hyper C63 head 2 C480 3 C5 2 C535 3 C747 6 D12E 1 AMT M40 1 AUDIO-TECHNICA AT857QM 4 BEYERDYNAMIC M201 N 1 M201 TG 2 M88 9 BSS DI Box AR-133 18 COLES 4104-B 1 CROWN PCC160 4 PZM-6LPB 1 DPA 4060 Black 10 4066 Black 2 4099 Violin/Viola 1 4099 Cello 1 ELECTROVOICE PL80 1 RE16 3 RE20 1 NEUMANN KM184 8 KMS 100 2 PHANTOM POWER 4-pin Mini XLR 9 ADAPTORS SENNHEISER MD421 7 MD918 U 4 SCHOEPS CMC 5 MK21 head 2 SHURE BETA 52A 1 BETA 57A 8 BETA 58A 5 BETA 87A 6 BETA 91 2 BETA 98 5 BETA Pre-Amp 1 MICROFLEX Pre- 5 Amp SM57 8 SM58 12
SM58 (s) 2 SM87 1 SM98 5 UR-1 10 UR-2 58 head 10 SONY C48 2 ECM 30 1 ECM 50 1 ECM 55 2 ECM 77 1 All microphones are provided with stands and correct clips. All equipment details are subject to change. DJ Kit 2x Pioneer CDJ 1000 MK3 in KamKase flight case 2x Technics SL-1200 MK2 1x Pioneer DJM 500 All equipment details are subject to change.
ACOUSTIC PANEL SETTINGS SETTINGS There are six programmed acoustic panel settings using the four panels in a closed mode at different heights and angles: 1 MOD MOD 3 * to be used for LSO concerts For full symphony orchestras with / without choir 2 FULL ORCHESTRAL to be used for BBC SO concerts 3 CHAMBER STEEP For chamber orchestras, small baroque opera set-ups and recitals with balcony on sale. 4 CHAMBER SHALLOW * For chamber orchestras, small baroque opera set-ups and recitals with balcony offsale. 5 ORCHESTRAL LX For classical concerts requiring use of LX bars 1, 3 and 6 6 OPEN ALL REFLECTORS VERTICAL For contemporary concerts using all lighting bars * Please note that lighting from FOH Bridge 1 is restricted when using the Chamber Shallow and the MOD MOD 3 setting. ADDITIONAL INFORMATION It takes c30 mins to change from one setting to another with no artists / external crew on stage. Panel changeovers require two Barbican staff to operate and all technical and backstage crew have been trained in operation. Event notes should detail the name of the panel setting and time allowed within the schedule for panel changeovers e.g. there may be a morning LSO rehearsal (LSO setting) followed by an afternoon session and evening concert with open balcony by the Gabrieli Consort (Chamber Steep setting) We do not propose to discuss panel settings with individual ensembles in advance we would simply like to provide the most appropriate acoustical setting for the performance in terms of ensemble and audiences sizes.