with the J8 system. The horizontal angle of
diffusion is 80 degrees, so it’s easier to con-
trol the sound on the balcony.”
Employing an additional complement of
Meyer Sound UPM-1Ps in both the orchestra
and balcony levels, the hall’s various speak-
ers can also be converted into a 70-volt
stereo surround system.
“The room sounds really nice on its
own,” Desbiens says of the main hall’s
acoustic properties. That’s of course the
product of a meticulous acoustic design
that caters to Quebec’s symphony and
opera company in addition to a multitude
of other productions.
For those involving less reinforcement,
the room is natural reverberant; however,
for more amplified applications, a series of
curtains, reversible acoustical panels, and
adjustable reflective panels can be config-
ured to dampen or reflect sound and sig-
nificantly modulate the reverberation time
accordingly.
Forgues says the addition of the digital
console has elevated the performance of
the d&b system. “It’s just so much cleaner,”
he enthuses. “I had the chance to mix the
same show on the XL4 and S6L, and we
noticed a big improvement in audio quality.
The XL4 was a great desk, but we had so
much outboard gear and patching, there
was just a lot in the signal path that could
introduce noise. With the digital desk, it’s
just so much clearer, and we now have a
Meyer Galileo Galaxy to drive the sound,
which has improved things even more.”
Although the venue’s systems can now
be completely AVB network-based, the stage
inputs are available as a MADI digital split at
both 48 and 96 K to offer something of a leg-
acy bridge; however, Desbiens says the plan is
to eventually go entirely AVB for an all-digital
signal from the amps to the loudspeakers.
Salle Louis Fréchette
• 6 x L-Acoustics KIVA per side (Main
Arrays)
FOH
• Avid Venue S6L 24D Engine 192 • 2 x L-Acoustics SB15 Subwoofers per
side (Main Arrays)
• Avid Stage 16 16x8 Rack • 6 x L-Acoustics KIVA (Centre Array)
• 2 x Avid Stage 64 96x48 Rack • 2 x L-Acoustics SB18 Subwoofers per
side (Ground Stacked)
Loudspeakers
• d&b audiotechnik J-Series System
• 9 x L-Acoustics 5XT (Front Fills)
• 4 x L-Acoustics LA4 Amplifiers
• 9 x J8 per side (Main Arrays) • 1 x L-Acoustics LA8 Amplifier
• 2 x J-SUB per side (Main Arrays) • 7 x T10 (Centre Cluster) • 3 x Genelec 1030A per side (Room
Fills)
• 1 x C7 per side (Side Fill) • 4 x L-Acoustics KIVAs (Mobile)
• 2 x Q7 per side (Side Fill)
• 2 x Vi7P per side (Upperside
Balcony Fill) • 1 x L-Acoustics LA4 Amplifier (Mobile)
• 4 x T10 (Front Fill) • 2 x Meyer Sound USW-1 (Mobile)
• 6 x Meyer Sound UPA-1Cs (Mobile)
• 6 x Meyer Sound UPM-1s (Mobile)
• 6 x Meyer Sound UPM-1P (Orchestra
Level Surround) • Bryston 4B Amplifier (Mobile)
• 4 x Meyer Sound UPM-1P (Balcony
Level Surround) • 2 x Auratone 5C Monitors
• 3 x Fostex 6301B Monitors
• Symetrix A-220 Amplifier (Monitors)
Effects & Processing
• 2 x Lexicon 300 Multi-Effect
Effects & Processing
• Lexicon PCM 80 Multi-Effect • Klark-Teknik DN9340E EQ
• Yamaha SPX 990 Multi-Effect • Klark-Teknik DN9344E EQ
• Lexicon PCM 90 Reverb • Klark-Teknik DN9348E Processor
• TC Electronic D-TWO Delay • Klark-Teknik DN 6000 Analyzer
• Klark-Teknik DN 6000 Analyzer • 4 x Klark-Teknik DN 3600 EQ
• Meyer Sound Galileo Galaxie 816 AES
Network Processor • 3 x Klark-Teknik DN 360 EQ
Monitors
• Avid Venue S6L 24D Engine 144
• Avid Venue SC-48
• 8 x Meyer Sound MJF-212A Powered
45° Wedges
• 12 x Meyer Sound UM-1A 60° Wedges
The audio team at the Grand Théâtre has
taken great pride in delivering the best
possible show to its patrons with each and
every production to hit its two stages. Now,
with a digital infrastructure and future ex-
pandability, they’ve elevated the bar for said
experiences. From rider friendliness to ease
of use to sound quality, they’ve checked
every box they initially put forth and are
looking forward to maintaining the reputa-
tion of their iconic venue as it approaches
its 50 th anniversary.
Loudspeakers
• Klark-Teknik DN 410 Parametric EQ
• BSS DPR 901 II Dynamic EQ
• Drawmer DL251 Spectral Compressor
• BSS DPR 404 Compressor/De-Esser
• DBX 166 Compressor/Limiter
• DBX 160 XT Compressor/Limiter
2 x DBX 900 Racks
• 4 x Meyer UM-1C 45° Wedges • 8 x DBX 903 Compressors
• 2 x Meyer USW-1 Subwoofers • 6 x DBX 904 Noise Gates
• 6 x Meyer MSL-3 (Stage Side Fills) • DBX 902 De-Esser
• 4 x Meyer Sound UPA-1A • Lexicon 300 Multi-Effect
• 2 x Meyer Sound UPA-2C • Lexicon PCM 91 Reverb
• Lexicon PCM 81 Multi-Effect
Salle Octave Crémazie
• Lexicon 200 Reverb
• Yamaha SPX 990 Multi-Effect
• TC Electronics D-TWO Delay
FOH
• Avid Venue S6L: 24D engine 192
• Lexicon Super Prime Delay
• Avid Stage 16 16x8 Rack
Andrew King is the Editor-in-Chief of
Professional Sound.
• 2 x Avid Stage 64 96x48 Rack
PROFESSIONAL SOUND 29