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.”