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Audio for New NY Night Club, Part 2

Oct 23, 2012 10:47 AM, With Bennett Liles


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Editor’s note: For your convenience, this transcription of the podcast includes timestamps. If you are listening to the podcast and reading its accompanying transcription, you can use the timestamps to jump to any part of the audio podcast by simply dragging the slider on the podcast to the time indicated in the transcription.

Broadway producers got together to lay out a night spot just for their crowd and set up for a variety of visiting performers and top entertainers. They got Masque Sound to install the perfect sound system at Broadway night spot 54 Below. Matthew Peskie is back to wrap up the details on the project, coming up right now on the SVC Podcast.

SVC: Matt, thanks for being back for part two on the SVC Podcast with the sound installation at the new Broadway nightclub 54 Below, located right under where the old Studio 54 club was. [This is] a new installation. You got in while the actual construction was going on. We didn’t get too much into where the sound control is located in there. A very distributed system and where do they control it?

It is kind of twofold. You have the traditional mix booth, which is off the system left side, off in the corner a little bit. You’re still in a great place to hear and to put up a mix. That’s where the ST48 is and there’s also a BLU-10 remote located there. The entire system with the exception of the Meyer Galileo, which drives the Meyer system is controlled by BSS processors. So we have two locations for the remotes that run the BSS processors. There is one located in the booth and then one located behind the bar. So not only does the mix person, whoever’s mixing the show, have control over levels in regards to any of the ancillary zones whether it be the bathrooms or the bar or the entryway, any of those places, but the bartender also has that control so the bartender can go ahead and bring his zone down if he deems necessary. If it’s quiet up there or if it’s too loud, what have you, he’s got that control. And also we incorporated an iPod dock in the bartender area so he can put an iPod in and via the BLU-10 remote, he can cycle the iPod up, which is going to distribute that sound throughout the venue through the main PA as well. Through the Galileo it’s going to come out of the main PA for when there’s no show going on and then when the show’s about to begin, you can do this from either the bar area or from the control booth, you just go ahead and hit iPod fade out. And then that’s going to fade that iPod out and it’s going to fade it down to infinity basically muting the channels then while the show goes on, and then the show will go ahead and fill in and then take over all the speaker zones. So it ultimately ended up being a very turnkey system in regards to zone control and having this playback music. [Timestamp: 2:58]

And how did the bartenders take to that? They pick up on that pretty fast?

Well, we really made it as simple as possible where for the most part all the zones are pretty set and we put limits on so even if the person really wants to crank it up in the bar area, there’s a limit as to how loud they can make it go. So in regards to the iPod fade up and down, which is really the only thing that they really have to worry about, we simply just put in where you have to enter in a password, so that way only certain people are able to do it. So you simply go to the page for the iPod fade up/fade down, enter the password, and then just hit iPod fade up or fade down and it’s that simple. [Timestamp: 3:36]

And you do have a digital mixing console in there. Why did you decide to use the Avid SC-48?

Well, I think Peter Hylenski spec’ed the SC-48 and I think I probably would have chosen something very similar. I mean for the price range, it’s right where we want it to be and in regards to the flexibility that you have with adding plugins. I know they put in a Waves package into the console and then the ease of operating the desk. I’ve travelled with profiles in the past in my past life of touring and I always had a great time with them. I never had any major issues, so the reliability and then also the factor that you can very simply run ProTools straight out of the desk and record and that was probably one of the primary reasons which I know we were going to discuss the recording facts—how they record down at the venue and they do use the JoeCo 24 track recorder as their primary record source but then they also always run ProTools via the SC-48 as a backup. So it’s just a nice thing to have and then you can go ahead and turn it around and run it in the playback mode and do your virtual sound check. [Timestamp: 4:43]

Yeah, that always makes it great to be able to work around other people’s schedules in getting things ready.

Yeah, absolutely, absolutely.



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