Suspended above the proscenium, the new system features a central cluster of seven L-Acoustics V-Dosc enclosures with a pair of dV-Dosc small-format/downfill array elements hung beneath. Both the V-Dosc and dV-Dosc array elements incorporate a patented Dosc waveguide to facilitate virtually seamless element-to-element coupling. Functionally, this creates a single acoustic source across the entire bandwidth of the system, and results in very even SPL and frequency coverage throughout the seating areas.
The cluster is augmented on the ground by several portable stage systems, including a front-fill array featuring four L-Acoustics MTD108a eight-inch coaxial cabinets mounted on stands, and a deck-fill system of stage left/right groundstacks each comprising a pair of L-Acoustics dV-Dosc cabinets mounted on a dV-SUB triple-15 subwoofer. Adding to system versatility, the dV-Dosc deck-fills can be replaced as needed with a pair of L-Acoustics MTD115a 15" coaxial cabinets for special lower volume applications.
"Our accomplishments with V-Dosc components in the room are centered around both sonic performance and highly-defined pattern control," Koehler says. "Viewed from the perspective of the audio upgrade's main cluster, the hall's seating plan resembles an inverted keystone. That is, it's wider at the bottom than at the top. The L-Acoustics line-source array offers us a very precise image which is horizontally symmetrical for our needs, providing a very clear focal point as the sound reinforcement source. That's ideal for this application, because while there is a lot of cubic volume in the room itself, the space actually occupied by the listeners is relatively small.
The 120-degree horizontal coverage of the dV-Dosc enclosures covers the seating areas closer to the stage. When combined with the performance of their longer-throwing, 90-degree V-Dosc siblings hanging further up in the array, the dV-Dosc cabinets complete the even coverage picture nicely within this anything-but-symmetrical application.
"Even though this is technically a fixed system, I think it would be fair to say it has a touring sound soul," Brosnan suggests. "We built this PA with the distinct ability to come in and go out in minutes as dictated by whatever's happening onstage. For Boston Symphony performances, it can be removed if need be. Then, later in the evening, if the Pops are going to play and it needs to come back, it can be re-flown in a snap while the room is theoretically changing over from a raked floor to a cabaret-style setup."
(Lee Baldock)
