Audio for New NY Night Club, Part 2
Oct 23, 2012 10:47 AM, With Bennett Liles
Where did you end up putting the Millennia preamps? It doesn’t sound like you had any really long mic cable runs.
No, yeah, I would say the cable runs are probably only maybe 45-50ft. from the stage to FOH. It’s a really short run. The Millennia’s are out at FOH and basically the patchable inputs onstage hit the Millenia’s first and then the Millenia’s analog out feeds into the SC-48, and then we take the digital out on the AES card that comes out of the Millennia’s into the JoeCo recorder. So really the Millenia’s are your front-end head preamp, so we’re typically not using the preamps at all on the SC-48. It’s really the Millenia’s are driving everything. [Timestamp: 5:30]
OK, so you’re going to recording before it even gets to the front of the house.
Yeah, before it even hits the console. Yeah it goes straight from the preamp right into the JoeCo. [Timestamp: 5:38]
Being that it serves a Broadway crowd you probably have a huge variety of acts coming in there. Do any of them seem to have a need for any type of extensive stage monitoring?
I think it’s been relatively small. Patti LuPone has been in and I know she had quite a few things happening on stage but yeah, in regards to stage monitoring there really isn’t a ton going on. They have a couple of small Meyer UPM-XP wedges that are, again, they’re powered just like the UP-4XPs; those are powered from the rack-mount power supply. And then I think the only other stage monitors they have, I think, they’ve picked up about a half dozen of the Anchors, just the little self powered anchored speakers that you can stick on to a mic stand. It’s really for the size of acts that they have coming in there you know smaller act; we have a piano player, have a guitar player, someone typically is probably going to be sitting down, so the little Anchor speaker really covers and takes care of things just fine. [Timestamp: 6:32]
Oh, that makes it easier.
Yeah, oh absolutely, absolutely.
Especially if you have to shift things around between acts pretty fast.
And the fact that the stage is so small anyway, so to have a bunch of floor wedges that you have to try to get up there and then you have to position it in a location where you actually are going to be able to hear it. So really going with the little self-powered speakers is really the right way to go. [Timestamp: 6:52]
Do they do any sort of live broadcasting out of 54 Below?
I don’t believe so. They were initially going to put in some panels out in the facility to do broadcasting and that ended up getting put on hold for the time being. I know the electrician put in the infrastructure, so the infrastructure is there or the conduit is there if they do ever want to go back and put some wire in and get these locations set to go but they very well could. I mean they could very well do that from the audio side at least they could no problem. [Timestamp: 7:21]
And when they got all this set up and you were ready to go with it, you had the first few acts come in. Did you have to go back and make any changes or adjustments to anything? Were you there when they sort of gave the place its test flight?
Yeah I was there the night before they opened. The only real changes that we had to do were just some minor changes in some of the zone levels, but for the most part once the show feed was basically fed from FOH, where there’s a couple different show feeds, so there are locations where you come walking into the venue and you walk down the stairs, there’s a couple zones—a couple ceiling speaker zones—that they don’t get a board mix; they actually get—there’s three room mics set up—they actually get a feed of those room mics. Because the room is so small you are occasionally going to have acts that, even with the piano that they have there, a lot of times it might just be in the PA just barely, so a lot things that you’re hearing in the room you’re actually hearing acoustically. So it’s important that they wanted that feel; they wanted that full feel to go to these other zones when you’re actually not in the main performance space. So really the only way to do it was to use those room mics and then pipe those room mics into those particular zones, which gives it that full room sound not only do you get the crowd, but you get everything that’s not really amplified that you would normally hear acoustically. [Timestamp: 8:38]
Well, the place is right at entertainment ground zero, so it’s the place to be and every kind of performer imaginable coming in and an incredibly fun place to work in. So what’s coming up next for Masque Sound? You got anything coming up that you can let us in on?
Yeah, we do. We’re working on a project now at the Brooklyn Tech High School here in Brooklyn and I believe it’s their largest, I think it’s the largest, high school in the United States. They have a really large auditorium. I think it’s around 3,500-4,000 seats. It’s a really big space that they’ve never really had an adequate PA in there, so we’re working with the designer, putting in a large d&b system. It’s going to go in there. That’s primarily made up of Q1 speakers and then a plethora of fill speakers, under balcony and over balcony. So it’s a large system, a total of pushing upwards of 60 speakers going into that venue. So that’s a big one that we’re in the midst of right now. [Timestamp: 9:30]
Well, that will keep things interesting especially coming off of this one. Matt Peskie from Masque Sound and the sound system at Broadway night spot 54 Below. Thanks for telling us about it and good luck with those coming up.
You got it. Thank you.
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