Working to a specification devised by Carr & Angier Theatre Consultants, evenly dispersed sound was of paramount importance, since there are three audience tiers (including fixed-seating balcony and upper balcony levels), and optional ground floor seating wagons to enable the 1200-seat auditorium to convert into a larger 1800-capacity standing space.
Thus Northern Light project manager Simon Cooper decided to base his sound reinforcement solution around Martin Audio's purpose-designed Wavefront theatre systems.
For the primary system, he chose 14 purpose designed WT3 Arrayable three-way compact theatre enclosures. These are designed in three vertical pairs on either side of the proscenium arch, focused onto each balcony, with a single enclosure at the base. The proscenium system is complemented by a centre cluster of seven W3P arrayable compact enclosures to provide true L/C/R imaging, while two WS18X subs, either side of the stage, add LF extension.
Providing stage- fills are Martin Audio WT15's, while high up the building four WT2's and a pair of S18(F) subs are mounted on the second lighting bridge to form the delay system for the second balcony. Finally, under-balcony support is provided by Martin Audio's C6.8T ceiling speakers - six on each level.
Driving the main PA system are dedicated Martin Audio amplifiers, situated in a rack room close to the proscenium arch in order to reduce cable runs. These consist of 13 MA5.2K, two MA12K and one MA1.3s, while the Martin Audio ceiling speakers reside on a separate circuit.
Explaining his choice of system Simon Cooper stated that he had previous experience of seeing WT3's designed in a similar configuration - and his concept received the full support of Martin Audio's Peter Child, who assisted with the design.
While Cooper was convinced the theatre should go digital in order to save space on outboard equipment, he did not want the upgrade curve to be too steep.Thus he selected a Soundcraft Si3 64-input desk, which can either be operated from the control room, set above the first floor balcony, or from a mixer lift position in the stalls.
"We were able to offer the theatre a better mixing solution than originally planned, for the same price - and they were delighted," stated Cooper. "We recommended the Si3 largely because, although digital, it is basically a direct replacement for an analogue desk, and all the existing cable infrastructure was there."
(Jim Evans)
