The Vine Theater Upgrades to a 1 SOUND Audio System

	Mike Richards and Lou Mannarino

The Vine Theater, a premier 1,600-seat live performance venue located within the Del Lago Resort and Casino, which serves both Rochester and Syracuse, New York has upgraded its concert system to a completely installed 1 SOUND system. The decision to upgrade the audio system came in response to ongoing concerns regarding sound quality, system reliability, and the deteriorating condition of the previous self-powered line array system. Tom Knauss, principal consultant at NV5 Consultants Inc., was brought in to review the current system and provide recommendations. "The existing system had reached a point where many components were beyond repair, and the overall sound quality was suffering," he says. We initially received three rider-friendly proposals generally based on the replacement of the existing line array system with new line array components." NV5 advised Del Lago to consider an alternate design approach based on digitally modeled, multi-channel, point source arrays.

"A properly designed and implemented point source system can significantly decrease the quantity of loudspeaker devices without degrading performance," he says. "Properly implemented, a point source approach can lead to decreased system costs, diminished aesthetic impact, and more importantly, a dramatically improved sound experience to the audience."

Del Lago management requested an on-site demonstration of a point source solution from 1 SOUND. Given the venue's urgent needs, the company agreed to provide an onsite demonstration, to be followed by a factory-developed report including a recommended system design and proposal from an authorized 1 SOUND integrator. An on-site demonstration was provided within five days of Del Lago's request.

1 SOUND's founder and designer, Lou Mannarino, conducted the demonstration based on a preliminary digital model utilizing multiple full-range point source devices and carefully located subwoofer devices. "The Vine's physical dimensions presented unusual challenges as it is nearly 100' tall and only 100' deep," he says. "Our approach with Tom was to design with point sources instead of a line array because of the width and depth of the space." Using just a left and right stack of SUB2112 with a Contour CT212 on top, the demonstration system immediately outperformed the existing system.

"I was immediately blown away and floored by what I was hearing out of what little speakers were in the room," says Mike Richards, front-of-house engineer at The Vine. "We wanted new technology that would cover our room and give us the sound pressure levels we needed for the concerts we are doing. 1 SOUND fit that bill perfectly."

"We were able to use that simple demo system as the actual PA in the theatre because it was indeed covering, including the balconies!" Richards says." I went to our management and said look this is only a quarter of the system we are planning on using, just imagine what it is going to be like when we install the full thing and there is even coverage everywhere."

Anthem Productions, a 1 SOUND dealer and integrator, was awarded the contract to complete the full installation of the system. The full system included left, center, right, under-balcony, over-balcony, and stage-fill speakers as well as stage wedges, and drum fills, etc.

The visible PA as the main left and right were two Contour CT212s mounted on either side with their dedicated wall bracket. The Contour CT212s consist of two 12" drivers with a mid-high coaxial compression driver. This constant directivity, horn-loaded loudspeaker has a maximum SPL of 145dB with three-way crossover, resulting in a pronounced and powerful, controlled sound capable of high SPL and a longer throw. Four CSUB610s are placed in front of the stage and five SUB2112s were flown by truss providing impactful lower frequency needed for the venue. The SUB2112 is a bi-amped sub consisting of one 21" driver and two 12" units so it is deep yet has punchy upper bass as well. "The SUB2112s in the theatre go down deeper than other subwoofers I have mixed on. They reach out and grab you!", Richards says.

For the mezzanine, two more CT212s were flown per side. The smaller speaker in the series, the Contour CT28, was mounted for the third balcony level coverage from the truss as well as the catwalk. For the under-balcony fills, ten of 1 SOUND's new Level L38 loudspeakers were flush-mounted to the ceiling standing only 8" off the ceiling. The Level L38 is a passive cardioid point source with a progressive horn. "The biggest difference about using the Level L38 is the cardioid pattern. If you stand one foot behind it, you can't tell if it is on. You move into the fill zone, they sound amazing," Richards says.

"The clarity and coverage provided by the 1 SOUND system is astounding," Richards says. "With the completed 1 SOUND system, we have even coverage with + or - 2 dB in every seat of the house, which is huge. It means we are even above industry standard specs. I used to have a huge plug-in chain and now I'm down to an EQ and a compressor. The processing just isn't needed. The Contour boxes just sound good with a microphone on it."

"I am already used to the fidelity I have at the theatre," he adds. "I actively mix on other premium systems and line arrays in different applications. They do the job, but it does not have the same sound and fidelity of 1 SOUND.

"I have had several touring engineers on the system. Keanu Reeves' rock band, Dogstar, was just in, and their front-of-house engineer loved it! He can't wait to return with his other band Three Dog Night where he is looking forward to hearing the vocals in the house. Another touring engineer for a country artist said, 'The equipment on my console has never sounded this good.' The comments from engineers have even gone as far as someone saying, 'I'm realizing the adjustments I have been making on my mixes to accommodate line arrays.'."

The Vine marks the first theatre to have 1 SOUND's new cardioid concert monitor, the CM38. The unit stands only 8" inches off the floor and have a progressive horn design which focuses the energy farther back while progressively narrowing the dispersion, giving these monitors more control. "The control and isolation of these monitors is amazing. Point them where you want and that is the only place you hear it," Richards says. "Monitors used to dictate the volume of my show. With this new floor monitor CM38, there is no stage volume. That wedge is a game changer in the entire industry. Everyone who has come in and seen them has been blown away."

"The standard comment I get when a guest engineer walks into front of house, they say 'Is that all the PA I have?' Because all you see is two boxes mounted on the wall, and I say turn it on and listen. When they leave, they always ask, 'Do you have any more information on this that I can get?' I have only impressed people with this new system. I am so happy with this system," Richards concludes.