“ Compared to our old , ‘ literally held together with duct tape ’ PA , the Meyer system was night and day ,” Hind says , adding that while other manufacturers ’ products were considered and offered viable options , “ Gerr leaned all the way into the project . They were like , ‘ what do you want ? Here ’ s some equipment . Play with it .’”
Christie Lites , who ’ ve recently added audio integration to their services , took care of the install . Christie ’ s Ben Renzella says : “ Our conversation started with lighting . Josh and I have done a number of projects together , and when Josh heard Christie was doing audio / video installations , he reached out to me . We put the package together and ended up bidding with the Meyer solution from Gerr .”
Generally speaking , the install was fairly straightforward , Hind notes . “ There are a lot of hang positions and structure , and working with James Craig and the gang from Real Services ( Christie Lites ’ sub-contractor ), who did a lot of our low voltage and the speaker installation , was absolutely terrific .”
“ It ’ s a unique space ,” Robertson explains . “ There are physical obstructions and seating positions that are different than many theatres , so we had to be creative with where we put speakers for various reasons and still maintain the best coverage possible .”
YPT ’ s Head of Audio , Mike Mills , had clear goals for the system . “ Because we do a big musical every year and our previous system didn ’ t offer a whole lot of flexibility , we wanted a package that would allow us to do anything that we want for musical theatre ,” Mills says . To achieve that flexibility , in addition to Meyer loudspeakers and processing , YPT also purchased a new DiGiCo console with an integrated Klang monitor solution , Clear-Com wireless intercom , a comprehensive , multi-purpose microphone package , and a QSC solution for distributed audio .
For loudspeakers , YPT ’ s PA comprises Meyer Sound Ultra-X40s as L / R elements , one UPQ-D3 for the centre channel , and three 750-LFC subs hung behind the UPQ-D3 in a cardioid configuration to maximize low end for the audience and minimize unwanted low-frequency spillage onstage .
“ There are four Ultra-X40s for under-balcony fill ,” Hind explains . “ We have a mezzanine that runs around the space , so there ’ s a pair suspended off the mezzanine to cover most of the lower orchestra level , and the other pair hit the upper orchestra , left and right , and our upper balconies .” He adds that the balcony was built in 1982 when YPT realized they required more space . “ But it ’ s an oddly shaped balcony , so the left / right Ultra X-40s in the air are there to help us fill in that section .”
As for the decision to use a single UPQ-D3 , says Robertson , “ One single speaker , if you can cover everything from that one position , is the best way to go , and that UPQ covers the lower section and on up into the rear area of the theatre .”
Accessibility throughout the venue was a predominant consideration . “ We don ’ t have a ton of under-balcony seating , but right in the middle , at the back , we built a new accessible seating area , tripling the amount of accessible seating in the space ,” Hind adds . That area and the wings are covered by four Meyer UP- 4slims , ensuring those in the accessible seating area have the same experience as the rest of the audience .
“ YPT also has those elevated balconies off to the left and right side of the house . On the house right side , underneath the balcony , is where the FOH console is . Because it ’ s not dead centre , we added the UP-4 slim speakers , which are very low profile , up against the underside of those balconies to cover the FOH position and the accessible seating area ,” Robertson notes .
Additionally , YPT purchased a number of ‘ hotspot monitors ’ – Meyer X-20s and X-22s – that can be used for foldback or effects speakers according to the needs of any given sound designer or production . The choice of having
YPT ’ S HEAD OF AUDIO MIKE MILLS
an inventory of speakers that can be deployed in various layouts instead of a fixed surround system was a decision made early on , partly based on input from sound designers YPT works with .
“ The idea of making those portable and easily deployable was paramount because you want to offer whoever the designer is the maximum amount of flexibility ,” Robertson elaborates . “ So , instead of establishing fixed surround positions and hoping that that would be sufficient for everybody ’ s needs , we created a portable , versatile system they can put wherever you want .” Given the amount of pipe throughout the space and the mounting hardware , those can also be hung in a wide range of locations , “ Very much like a lighting fixture that you can tilt it on both axes , rotate them horizontally , and tilt it up and down vertically . So now they have an inventory of speakers they can drive off of individual control sends from the console and do all kinds of interesting things .”
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PHOTO : JOSHUA HIND PHOTO : JOSHUA HIND