KV2 Break’s Convention at Sadler’s Wells
- Details
Head of sound Mark Noble was looking for a suitable opportunity to evaluate KV2 Audio products having enjoyed the results achieved on other West End shows and having become increasingly aware of the rising prominence of KV2 in the wider Theatre industry.
With a total capacity approaching 1800 across stalls, a first and second circle Sadler’s Wells’ main auditorium is impressive.
In spite of the size of the venue, just a single ESR 2.15 Active-Driven full range cabinet was used per side to cover the stalls and first circle powered by the dedicated ESR 3000 stereo amplification and control unit. Then just a single Active three-way EX 15 featuring coaxial 15” and horn-loaded 6” mid-range driver was used per side for the second circle.
Low-Frequency reinforcement was provided courtesy of the VHD 4.21 subwoofer system comprising one Active VHD 4.21 2x21” subwoofer driving one Passive VHD 4.21 2x21” subwoofer.
Such a small number of cabinets to cover such a large venue would be viewed with scepticism by many engineers who are yet to be exposed to KV2 Audio’s True Point Source approach to large format sound reinforcement.
“I had an amazing time at Breakin’ Convention with the KV2 System,” says Mark. “The shows were brilliant from an audio perspective - it was really pumping and got the audience moving.
“It went louder than I ever thought it would. I could push it more and more when needed whilst retaining brilliant results. I was really shocked with the amount of headroom on HH’s that I got from the ESR 2.15’s.”
The show featured acts from all across the world – Russia, Canada, USA, South Africa, France and Austria. The acts were generally performing to playback with live vocal reinforcement. However, an unexpected late request for live instruments still didn’t pose any problems for the system. If anything this further enhanced the audio thanks to KV2 Audio’s Super Live Audio design concept.
“I received a late request from an act from South Korea for some drums and performers to be mic’d. They wanted these South Korean drums so incredibly loud and I was really impressed that I could still give this to them without any worry of feedback.”
(Jim Evans)
