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Audio for New NY Night Club, Part 1

Oct 9, 2012 11:54 AM

With Bennett Liles

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Yeah, that would be the big thing. You sure don’t want a lot of people listening to bass booming through the walls next door.

Oh yeah, and you could tell as the room was being built and they were starting to apply the soft goods and starting to get the isolating materials up, you could just sense that it was getting quieter and that it was getting dead inside the space. So the end result is it’s really nice looking and the ornamentation and all of the trim and woodwork and all those things really stand out. It’s just a really, really nice looking room. [Timestamp: 4:52]

And I would think that part of the sound isolation would be your ability to keep volume levels at a minimum. Did you set out to distribute the sound as much as possible by wire and use a lot of speakers so that each one has a minimum area to cover?

Yeah, I think it’s kind of two-fold. I think the performances that they have there kind of lend themselves to helping out in that respect that they’re not going to be at high volume in the first place, so the room was basically the speakers and the amount of speakers are really laid out for coverage. So no matter where you are in the performance space area you pretty much are right in the throw of the speaker, which really helps so you don’t have to crank up the volume in order to be right in the coverage of the speaker. So there’s the main Meyer system that covers the main room itself and then there’s, I think, it’s there’s about 8-10 zones of Tannoy ceiling speakers that cover the bar area, that cover the entry way, the dressing rooms, the kitchen, the restrooms—all those other places all have individually zoned and zone controlled ceiling speakers. [Timestamp: 5:57]

And you were talking about the timeframe on this. So when you first got in there what did you have to do and how fast did you have to get rolling on everything?

Well, it was pretty fast just in regards to what we had to get done, what we had to get located in the ceiling before they started closing the ceiling, so making sure that our conduit sizes were correct, that our amounts of wire going into said conduits, that the conduit was sized correctly and locations were marked out to get our anchors, our Unistrut and threaded rods set in place in order to give us a place to hang our main array speakers from. So it’s just things of that nature. All those typical things that have to happen before sheet rock goes up and then you no longer have access to those spaces. [Timestamp: 6:37]

I found that interesting what you said about how it got quieter in there as the construction went on. So how did the acoustics work out as the finished product? Obviously, they got the place carpeted…
…they’ve got isolation in the walls, so it appears that that part of it was given a lot of attention and it worked out.
Yeah, it really came out nice. I know when Peter Hylenski came in and did the final tuning of the room, I know he spent a lot of time just in regards to time alignment and coverage and getting all that stuff correct, but I don’t recall there being any major issues in regards to like a standing wave or any kind of frequencies that were just jumping out at you. So ultimately it ended up sounding—it came out sounding really, really nice. [Timestamp: 7:16]

What kind of Meyer speakers did you use in there? We’re they the self-powered ones?

Yeah, we used all self-powered. There are four UPJ-1Ps that are the main four speakers in the array, but then there’s also a half dozen of the UP-4XPs, which use the rack-mounted power supply. So there are six of those that are kind of filling in in the front rows and off on the sides to give all that coverage that we talked about and then there are four 500-HPs under the stage, which you might think is overkill but no, these things are not being driven at 10. You know they’re not being driven hard, so again they’re really there for the coverage more than anything else. [Timestamp: 7:55]

So they don’t have to put in the ear plugs and blast everything up to 11 or anything.

Yeah, exactly, not only do you have acts coming in that don’t play at the high volume, but with just the shear coverage of speakers, because sometimes you might push the volume on something really just to try to cover it to the far back of the room or try to, you know, hit the sides a little bit more, but with just the total amount of speakers that are there, the coverage is really built in from the get go. [Timestamp: 8:23]

And no problems with getting clean power run to the speakers.

No, and thankfully that was the good thing about having it being new construction is that we could say right here is where we need a circuit, right here is where we need a circuit. So yeah, so that was nice and easy just spending a lot of time working with the onsite electrician making sure that he has the current set of our prints. He knows where he needs to put things and then obviously we always walk everybody through every detail just to make sure that it’s said once so they have an understanding of, “Yeah, this is where this needs to go.” [Timestamp: 8:54]

Well, it sounds like it was probably fun to work on in having it all come out like it did. Matt Peskie from Masque Sound. It was good having you here and in part two, the mixing console and the Millennia pre-amps, stage monitoring, and the way the bartenders can even control some of the system. Thanks for being here.

Thank you.

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