With such prestigious events being held on a regular basis, it is crucial that not only are the choir and orchestra heard in a high enough fidelity that is worthy of the musicianship, but also that the spoken word be heard clearly and evenly at every seat. The sound system that was originally installed in 2000 was never adequate for the room and Salt Lake City-based Poll Sound, led by General Manager and Lead Sound System Designer Deward Timothy, was tasked with creating a new system that would do the room justice.<\/p>\n
It should come as no surprise that there were many challenges to overcome in an acoustic environment that is large enough to hold a Boeing 747. The room has a rounded back wall, so making adjustments to the system to minimize reflections was no easy feat. The left and right speaker stacks are 120 feet apart \u2013 the width of the stage \u2013 making it difficult to create an image. Another issue was the existing structure, Timothy explains, \u201cWhen the building was originally designed, they (LDS) didn\u2019t want the arrays showing, so they created cavities for them to go into. These cavities would require some pretty serious modifications to fit the new equipment, including a fair amount of new steel for support, as well as modifications to the grilles so they could be as far forward as possible.<\/em>\u201d<\/p>\n The first step in the process was to make a computer model of the room. L-ACOUSTICS was able to take Poll Sound\u2019s existing EASE model and convert it into its powerful SOUNDVISION modeling software. L-ACOUSTICS Vice President of Sales and Marketing Paul Freudenberg explains the next steps: \u201cWe modeled a couple of different loudspeaker approaches and evaluated them for performance in terms of coverage and sound pressure level. As part of this process, we\u2019re also able to find out how physically large a sound system and speaker array will be, as well as the weights \u2013 statistics that will be helpful for engineering purposes. For instance, if we find that a system that will be too heavy for the rigging point, we are able to be proactive and change our initial approach or consult with engineering for an alternative.<\/em>\u201d<\/p>\n SOUNDVISION has a fan in Deward Timothy, \u201cIt\u2019s head and shoulders above any others that I\u2019ve used in modeling line arrays. In the past, we\u2019ve used different models and found that you may or may not end up with what they predicted, but never with L-ACOUSTICS. It\u2019s very precise.<\/em>\u201d<\/p>\n After running the models, the choice to go with the dV-DOSC system was an easy and natural one for Poll Sound, which had previously installed a dV-DOSC rig in the 905-seat theater in the same building. \u201cWe really like the way the dV-DOSC sounds; the bass is full and warm, the line arrays do exactly what they should, and they just sound good. That\u2019s the reason our client likes them, and, at this point when they have a high profile project, they automatically think of L-ACOUSTICS,<\/em>\u201d says Timothy. Walker echoes his sentiments, \u201cThe dV-DOSC line array solved a lot of problems for us in a room this size. The natural sound it has provided has really been the answer we were looking for.<\/em>\u201d<\/p>\n The front-of-house system is set up to be an LCR system with 18 dV-DOSC cabinets flown per side and six dV-SUB ground-stacked below for extended low-frequency reinforcement. The foldback system for the choir and orchestra runs 16 discreet mixes, and monitors deployed are combination of L-ACOUSTICS MTD112b and MTD108a enclosures.<\/p>\n When it was time for tuning, Timothy was very pleased with what he found, \u201cWe loaded the L-ACOUSTICS preset file for our processor and, to be perfectly frank, we didn\u2019t change it in the least. We did some minor tuning after the fact, but their factory preset was almost right on.<\/em>\u201d Freudenberg elaborates, \u201cAs part of our standard process we provide a set of factory produced presets for DSP processing \u2013 crossover points, delay points, EQ points and so on. Nothing is left to chance. When we follow our process, these presets help achieve the same sound performance in every environment. It takes sound system design out of voodoo territory and transforms it into something more structured.<\/em>\u201d<\/p>\n The first show in the main hall with the new dV-DOSC system was the American Forces Radio and Television Service\u2019s Christmas broadcast to the troops, which featured contemporary Christian artist Sandi Patti performing with the Mormon Tabernacle Choir and Orchestra. Trent Walker noticed the difference immediately, \u201cThe goal was to ensure that we had coverage and that what is heard is the purity of the music, not the speakers. We are now getting a stereo image in a large portion of the room and that has made a huge difference for our audience. We were thrilled and so excited that we went with the dV-DOSC.<\/em>\u201d<\/p>\n
![\"L-ACOUSTICS](\"\/wp-content\/uploads\/old_pr_src_images\/2018\/01\/1259069313.jpg\")
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