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End-to-end Howard Theatre Renovation, Part 2

Apr 20, 2012 10:07 AM, With Bennett Liles

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And where are they controlling the Vaddio cameras from?

FOH control booth is where both audio lighting and video are all situated right in the center of the room. We have two eight in. dual HD monitors Black Magic design for mixing and two 24 in. screens for output. Actually we also have a streaming computer that we use in case a corporate event will require sending audio and video out of the building to a different location so we are set up with that as well. [Timestamp: 4:26]

And I guess having everybody right there in the same control area, no communication problems there. I noticed you also got a Crestron control system. How are you using that?

Well, we are trying to set it up so that when the house production staff is not on-site they can still use the system without having a dedicated technical person in house. For example, in the morning when there is no activity in, the music venue start late so in the morning if they open the box office and they need to put on some content on 70 in. lobby screens there is a key pad inside the box office where the operator can use the touch panel to trigger a preset that’s going to start playing audio and video from Western Digital Media players. So one of them can be display one prerecorded content while the other one is displaying another and audio is coming from another source. [Timestamp: 5:15]

And what kind of Crestron controller have you got in there?

That is a CP2E.

OK, that’s well proven. Very well known model.

Yes and we have two touch screens. We have the key pad at box office which is a 4.3 in. wall mounted piece and then at FOH we have a 9 in TPMC9 to be able to override the control from the box office and take control over and manually control individual components in the house. That is actually programmed so that the house staff can create its own presets. So they can choose sort content, sources and destination and manually route signal from source to output. In addition to that we are setting it up so that you don’t necessarily have to have a production switcher running all the time if there are shows that don’t require full blown video production but we still want to have one camera display what’s going on on-stage if it’s a live music show for example, that is actually controlled through the 9 in. key pad on days like that the video production person is on a day off and the lighting guy can just recall one preset or two presets and run the cameras at minimal capacity. [Timestamp: 6:23]

So with all of the control cabling to run did you have any sort of challenges running cabling or I think before you said that all of that was all redone and new.

We had the conduit done for us by an electrical contractor. It was all drawn and designed ahead of time. Of course when you pull cable there always snags and it’s always difficult like bump into problems but it’s been worked out. The wiring for audio, a lot of it was done ahead of time. I had a lot of the wiring designed and done by a company from Italy called Link which does a lot of custom work for us and a lot of it is ready to go and we pull it right into the conduits. Probably for this whole job the way that we do it, it probably takes just about 7 to 8 days to pull all the cables. [Timestamp: 7:08]

OK and all of the festivities and opening hoopla is happening just this month and I know you were really busy on this project. Have you got anything just coming along in the works for Peltrix?

Yes, we are actually already on, partially working on, redoing the BB King Blues Club in New York, which we did about, I think it’s almost 10 years now. We did the initial installation there when they opened and it’s time to upgrade everything there so we’re actually in the process of working on that. There is also another project coming up in Los Angles, which I am not at liberty to discuss at this point but we keep busy. We don’t do many jobs. We do normally two to three jobs per year, but they’re all very large and they take all the energy that a crew of five people can handle. [Timestamp: 7:54]

Yeah, from all I’ve seen about it, the Howard Theater project looks like it was a huge job turning this place from a dilapidated shell into one of the finest showplaces in Washington, D.C. So congratulations on the job and thanks for being here to give us all the tech details.

Sure, my pleasure. Any time.

Thanks for joining us for the SVC Podcast with Amit Peleg of Peltrix. Show notes can be found on the website of Sound & Video Contractor Magazine at Join us again next time on the SVC Podcast.

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