Professional Sound - August 2017 | Page 62

PROJECT FILE Located within an old church in Toronto’s Little Italy neighborhood, Revival Bar has become a live performance hangout for the city’s music community. GM Mathew Saturnino recently upgraded the 400-capacity venue’s sound system with an Electro-Voice X1 system. “We wanted a system that would sound great, with really good, tight sound output within the room. We did a lot of research, and the X1 from Electro-Voice seemed like the perfect fit – newer technology that would give us a very good competitive edge,” says Saturnino The system was designed by Clint Alves of Toronto’s Sound- Soft Productions and installed by Mississauga’s Pure AV. It’s comprised of two five-box arrays of Electro-Voice X1-212/90 loud- speakers and four X12-128 dual 18-in. subwoofers. The entire sys- tem is powered by six Electro-Voice TG7 amplifiers, all outfitted with RCM-28 network and DSP modules to enable easy monitoring and control via IRIS-Net software. Scharfenberg The FirstOntario Arts Centre Milton is Milton, ON’s cornerstone for creativity. Its Mattamy Theatre is a proscenium-style concert hall that seats 497 while the smaller, multi-purpose MinMaxx Hall is a flexible space with telescopic seating for 198. Already owning a se- lection of Yamaha digital consoles, the centre most recently added a Yamaha CL3 Digital Audio Console, one Rio1608 input/output box, and a Ri8-D input box, sourced through by Westbury National in Toronto. “The audio backbone of [the venue] is built on the BSS London Architect DSP and with the new Dante integration, the direct digital link into the DSP from all of our consoles has done wonders for us by increasing our capacity, simplified the centre’s operation, and has extended the life of all the equipment by a considerable margin,” says Bill Zeilstra, coordinator for technical operations at the centre. Monitor engineer Kevin “Tater” McCarthy is using a KLANG:fabrik 3D monitoring system from KLANG:technologies for an upcoming tour with Linkin Park that will run through 2017. “I can’t say enough about how great this thing is,” says Tater about his pair of KLANG:fabrik units, which reside in a rack beneath his Digico SD7 console. “And it benefits in ways you might not think of. I’ve been able to substantially lower levels in the in-ear mixes for the entire band – especially the click track. I just move that right to the front centre of the 3D field, like it’s right at their forehead, and then I cut its volume in half. The sound kind of sits there in its own little bubble and, since it’s not sonically competing with anything else, it does not need to be nearly as loud.” 62 PROFESSIONAL SOUND While on a worldwide tour with Canadian rock band Monster Truck, FOH engineer Chris Kaplinski has been using a DPA d:facto supercardioid vocal microphone to capture the powerful and gritty vocals of lead singer Jon Harvey. “I was looking into a different microphone until Geoff Maurice of GerrAudio talked to me about using DPA’s d:facto vocal mic,” says Kaplinski. “I was really hesitant about using it with Monster Truck because most condenser mics don’t work well with loud bands. The d:facto is amazing; I couldn’t believe the sound I was getting. In the past, when Jon would step away from the vocal mic, we would get bombarded with cymbals because he is only 5 or 6 ft. away from the drums. It can be a real issue and every other mic that we’ve used has had this problem. The tight pattern of the d:facto has eliminated this issue and has been great with combatting cymbal bleed.”