Professional Sound - April 2018 - Page 36

TWIN YAMAHA CL5 CONSOLES AT FOH 57 symphony musicians, the six members of Reno’s backing band, three background singers, and the featured performer herself, they needed to put a second CL5 at FOH, bringing the total used for Ginette Reno Symphonique to three. As mentioned, that third console – as with the majority of the audio system – was sourced through Omnison, which has been the go-to supplier for Reno’s crew for over five years. In fact, Du Berger heads up the sound department at Omnison’s Montreal headquarters and does system teching when he isn’t out on the road with Reno or another production. “The benefit there is the fact that they rent every kind of equipment we need for a complete production, from the latest sound, lighting, and video technologies to rigging, staging, curtains, and dressing,” Gingras ex- plains. “They regularly invest in new equip- ment and are always ready to support us as we expand and explore new products.” Of the two CL5s at FOH, one handled the orchestra mixes while the other com- bined the orchestra mix with the pop sec- tion, vocals, and effects. They also sourced a fourth Rio 3224-D through Omnison to patch the 105 total onstage mic inputs be- tween the desks. Omnison also has a sizeable comple- ment of Nexo loudspeakers from various series in its inventory, and Gingras has had a chance to put every one of those systems to work over the years as a freelance engineer and systems tech. 36 PROFESSIONAL SOUND He and Du Berger worked closely to- gether to design the system for Ginette Reno Symphonique and based it on the STM series; in fact, Gingras actually received his STM System Training Certification from the Nexo team just two weeks prior to the event. Nexo’s STM (Scale Through Modularity) series is comprised of four core, propor- tionally-sized models – the M28 Omni, M46 Main, B112 Bass, and S118 Sub – that can be deployed in several different configurations to suit various applications. “I was already completely convinced that the Nexo STM would be the best sys- tem for this magical night,” the engineer says, “and all of my expectations were met.” The configuration at the Videotron Centre included main left-right arrays comprised of six STM S118 subwoofers in pairs atop 15 combined STM M46 + B112 modules per side. Arrays of nine M28 Omnis covered the sides, while the lip of the stage was lined with Nexo PS15-R2s as front fills. An additional dozen RS18 subwoofers were groundstacked on the arena floor. “The precision of the M46 and B112 [pairs] gave me the same capabilities to mix this large venue as if I was in a small concert hall,” Gingras attests. “The sound of the powerful voice of Mme. Reno was diffused perfectly, and I was able to literally envelope each of the 8,000 spectators present in the venue. This system will cer- tainly be my first choice for all of my future projects.” The system was powered by Nexo’s NUAR amplifiers over a Dante network, and also employed a Yamaha DME-64 dig- ital mix engine paired with the MY16-AUD cards and six SWP1-16 L ȁݽɬݥэ)̸9Ὴé܁95<ѕͽ݅ɔ݅)ͼЁѼݽɬѼɥٔѡɥ)Ʌϊé݅́ɵ)ѡЁѡЁєIM)Ք͕́ѥ䁄ɥ)ɍɅܸ͡q$݅ѕѼٔɔ)ɽ䁍͔ͥ)Ё̳t͡ɕ̸qQӊe)ݡ䁵䁍ȁѡɍɄ݅聄)A͍ɕЀM͕)5-ȁmɔɕѥ)ձtA5!Lāmt)ɥ́ѼAٽє䁥Դ)Ё́ȁM͕)ԁm͕tȁєM͕)5- mɑ͕tȁݽ)ݥ쁅ՑQ)Q4M͕ȁm)͕tȁɅ̻t)Ḿ 5 ؁ݥѠ5,ā)ձ ՍȁхЁɽ)ѕѡݡѡ)݅́䁄ȁM)͕ȁ5- ́ͥѡ䁅) Ս́չɹѠ)=ɍͥM͕)5́ȁѥ9յ-4(́-4̰́)٥Ʌ䰁ɽչ)ЁѡɍɄѡմ)ЁݕɔM͕ȁ́ѽ́)Mɔ фȁ́ȁ́մ)͹ɔɕѥٕ)́ȁѡͥLIéѽɥ)LɅ́ѡեх̰̰)剽ɑ́ɕЁ٥ͽ)IɥAɼѥٔɕ)̸QմЁ݅́ݥѠ)M͕ȁȁѡ́մ)Mɔ фѡ͹ɔM)͕ȁ́ѡѽ̰9յ)-4-4́ѡ́)ٕ́ɡ̸)Qѡɕٽ́ݕɔ)ݥɕ́M͕ȁ̰ѡ)хх́ݕɔM͕ȁ)̸)䰁ѡхȁЁɔх͕)Ʌϊé9յ-5L̰)ݥѠ͕ɉ䁙ȁɕչ)ԁ ɝˊéI͕еȁѡ)͕݅́M͕ˊé)ݥɕ͕́ɥ̰ݥѠͥ́ѥ)ѡȁMɔԁ́ȁM͕)!̸