Theater-DeFlint

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Theater de Flint CASE STUDY: recreation

René de Lange, Professional Sales Manager of Tannoy Netherlands, designed much of the current sound system and supervised its installation.

CO N SULTA N T

Theater de Flint delivers all-star sound in the Netherlands, with an Audia-based networked system.

CHALLENGE Theater De Flint is located in the Netherlands; 20 minutes drive from Amsterdam and half an hour from Utrecht. Major Dutch businesses use the Theater for conferences, while dance, music and theatrical productions book more than 450 events a year. Maintaining this level of activity and the Flint’s status as a nationally known venue for prestigious clients requires a versatile, leading edge sound system. Four out of five bookings in the Flint use the entire sound system, and all use the delays and fill speakers. The system must be capable of handling a wide range of program material and speech automatically. It also must adapt easily to clientele who bring in consoles, FOH stacks and monitors. The goal for the sound system is that it should “disappear.” The audience should believe that the sound comes from the performers or presenters. The first generation DSP chips in the existing system did not deliver the necessary dynamic range.

SOLUTION When René de Lange, System Designer, first heard about the capabilities of Biamp’s Audia Digital Signal Platform, he immediately saw its potential. He based the system design on a pair of Audia 4x12 units, which work well with the distributed sound system architecture. One Audia with 4 analog inputs and 12 outputs, in addition to a CobraNet® 64-channel digital input, is installed

in the Stadshal performance space. In the Theaterhal (Theater Hall), a single Audia 4x12 replaces several OmniDrives and the custom matrix system. Audia units are capable of bidirectional audio signal routing using CobraNet’s deterministic protocol over an Ethernet network. Audia’s compiler algorithm assigns DSP functionality among all units available on the network. When

B i a m p Sy s t e m s

Beaver ton, Oregon, USA

one Audia’s DSP capabilities are fully allocated, the software routes the signal to another unit for processing, making the most of the Theater de Flint’s system.

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The Flint Theater’s Stadshal is a flexible multipurpose space with a capacity of up to 1825.

“One major difference between Audia and other networked DSP systems is that the signal processing power is not constrained by hardware. All Audia units are available to process any signal on the network.” - René de Lange, System Designer

theater de flint CAS E ST UDY: rec rea t io n

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SYSTEM SPECIFICS Gert Venema designed the signal flow within Audia. In the Stadshal, the 12 outputs are assigned as follows: 3 each to the main left and right clusters for a total of six, and one each to the left, center and right flown systems, the two delay rings and the stage fill systems. The four inputs can be assigned to left/ center/right/sub outputs from the Allen & Heath GL4000 console. In between, Venema used Audia’s DSP power to implement a matrix mixer, which connects a variety of delays, parametric equalizers with up to

18 bands, crossovers, compressor/ limiters, level controls and meters: 86 virtual devices total for the Theaterhal. Each system element can be addressed from the staff’s office via an Ethernet LAN. Each Audia requires only two Cat-5 copper or UTP optical fiber connections, one for CobraNet digital audio and one for Ethernet control information. Once the two networks are delivered to the routing point, however, they can run on the same cable.

At Theater de Flint, the distance spanned between the two halls is 130 meters, yet system operators in one hall can monitor or adjust the system in the other hall without moving. Even more useful, the Ethernet control enables them to change presets from their offices. Adding to the system’s integration, the CobraNet link allows the program in one hall to be sent to the other, so that overflow audiences can hear what’s going on in the other main hall, or technicians can monitor the sound from a remote location.

“The sound is now much more open and more defined. The Stadshal has benefited from Audia’s additional signal processing power as well. We can implement a proper matrix with cross-point delays, so that the sound always appears to be coming from the stage.” - René de Lange, system designer

CONCLUSIONs The Audia-based networked media system delivers improved audio quality and increased flexibility. This superior audio system plays an important role in the Flint’s continued success, because performers prefer its balanced coverage. Audia’s additional signal processing power enables the system to “disappear” into the performances. Visiting sound engineers are also impressed with Audia’s ease of use. Because Audia’s combination of DSP processing power, CobraNet networking and Ethernet control allow complex matrices to be reconfigured remotely in seconds, the system saves time and resources, improving the Theater’s bottom line.

SYSTEM COMPONENTS Audia® software 2 Audia DSP units in 4x12 configurations Allen & Heath GL4000 console. Chevin, C-Audio and Hill Chameleon amplifiers Tannoy speakers: 10-inch SuperDuals, 12-inch subs, clusters of i12s and T40 15-inch subs, S950s, Dual-18 B950 Subs, T300 12-inch SuperDuals, CPA5 ICTs, i8 Dual Concentrics, and 8x i6’s

B i a m p Sy s t e m s

Beaver ton, Oregon, USA

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