Scott was first introduced to Orbital Sound many years ago, after being let down by another theatre supply company on a West End show, and he has been with them ever since.
Orbital are thorough, their service is great, if they dont know how to do something they will find out. I love the honesty of Chris and Tom, and they have always shown me respect.
Further down the line he worked with Orbital on projects like The Lion, The Witch & The Wardrobe at Sadlers Wells, where he became the first sound designer to specify Yamahas new PM1D digital platform.
Scott Myers enjoys an equally close working relationship with d&b extending back to his days at The National.
In addition to the optional flown rig, a second system at stage level comprises a d&b B2 sub, pair of E15s and further Q7, shoehorned in behind the L/R grilles. d&b E12 enclosures can provide performers with stage monitoring or be deployed as stand alone systems when the need arises. A further ten E8 loudspeakers are used for surrounds.
Myers notes, The stage system is stacked really tightly; the E15s are not designed to operate with the B2s, but on the scheme Id put together Id noticed there was a hole in the frequency spectrum for the melodic content, I was missing the clarity on some of the notes from the bass player so I added a pair of E15s on each side and it works really well.
This also forms part of the Hall One infrastructure, developed by Arup Acoustics, which includes, motorised hoists, retractable projection screen (with Barco 12,000 ANSI lumens projector, fitted with warp module) and of course the motorised acoustic drapes.
At FOH Orbital Sound recommended a Digidesign VENUE environment (with detachable Sidecar). The D-Show digital console is fitted with HDx card to interface to a Pro Tools HD2 Accel Core system enabling every show to be multitracked and archived.
Presently a pair of 48-channel Yamaha M7CL digital consoles occupy the monitor position in Hall One and FOH position in Hall Two but shortly a new VENUE D-Show will oust the M7CL from Hall Twos FOH position to give the foundation two dedicated Yamaha monitor boards.
We also have Digidesign BNC coaxial cables so there is digital audio flowing but weve put in a complete new multicore analogue system so we can get 48 channels and 16 returns from backstage to FOH, and from backstage to the booth.
As part of the outboard set up, Orbital Sound also supplied 16 Focusrite OctoPre preamps, two 1U units with 8 pres in each, to give further options for incoming productions.
In Hall Two, a flat floor space which can accommodate168 seated or 330 standing, sound reinforcement is again provided by a d&b E15 and Q7 combination, with B2 subs, and an E8 providing front fill on each side of the stage.
Here, Scott Myers has also made use of the collapsible IntelliStage portable stage system. Its extremely compact but supports a huge working load and we can strike the entire stage in15 minutes.
Two other important decisions taken by Orbital Sound and the system designer were to specify a stand-alone Zaxcom digital radio microphone system and Whirlwind Super Concert auxiliary cabling system, to add further splits (56 audio lines) and feeds between stage box, monitors and FOH.
We were very amenable to experimentation and Orbital recommended Zaxcom which is extremely clean, says Myers. There are 16 channels of Zaxcom for use throughout the building offering one of the best sounding radio mic systems for performers.
Finally, Orbital have provided wireless communications from HM Electronics and a wide selection of industry-reference microphones, from Shure, Neumann, Schoeps, Sennheiser and AKG.
There are 135 mics in total including the sound mans luxury item, an AEA-44 which is a remake of the old RCA ribbon mic. I cant wait to use it as it produces a gorgeous sound, says Scott.
The opulent Kings Place is also a centre for the visual arts and everything Scott Myers has achieved in the audio domain he has probably matched in the visual world where he has been equally experimental.
To date I have spent £1.8m on sound, video and lighting and Im not done yet, he promises. This is the best infrastructure you can buy and Im just a satellite dish away from from being able to broadcast live in HD!
Launching with 100 concerts in five days in October, Kings Place got off to the best possible start and its now planning to build on that momentum.
Plans are already at an advanced stage to start their own record label, offer a live download service and provide an edit suite for TV as well as installing an optical fibre system that will send audio anywhere.
Its little wonder that from an initial technical staff of three Scott Myers is now projecting a head count of 35 to manage the growth.
Scott was first introduced to Orbital Sound many years ago, after being let down by another theatre supply company on a West End show, and he has been with them ever since.
Orbital are thorough, their service is great, if they dont know how to do something they will find out. I love the honesty of Chris and Tom, and they have always shown me respect.
Further down the line he worked with Orbital on projects like The Lion, The Witch & The Wardrobe at Sadlers Wells, where he became the first sound designer to specify Yamahas new PM1D digital platform.
Scott Myers enjoys an equally close working relationship with d&b extending back to his days at The National.
In addition to the optional flown rig, a second system at stage level comprises a d&b B2 sub, pair of E15s and further Q7, shoehorned in behind the L/R grilles. d&b E12 enclosures can provide performers with stage monitoring or be deployed as stand alone systems when the need arises. A further ten E8 loudspeakers are used for surrounds.
Myers notes, The stage system is stacked really tightly; the E15s are not designed to operate with the B2s, but on the scheme Id put together Id noticed there was a hole in the frequency spectrum for the melodic content, I was missing the clarity on some of the notes from the bass player so I added a pair of E15s on each side and it works really well.
This also forms part of the Hall One infrastructure, developed by Arup Acoustics, which includes, motorised hoists, retractable projection screen (with Barco 12,000 ANSI lumens projector, fitted with warp module) and of course the motorised acoustic drapes.
At FOH Orbital Sound recommended a Digidesign VENUE environment (with detachable Sidecar). The D-Show digital console is fitted with HDx card to interface to a Pro Tools HD2 Accel Core system enabling every show to be multitracked and archived.
Presently a pair of 48-channel Yamaha M7CL digital consoles occupy the monitor position in Hall One and FOH position in Hall Two but shortly a new VENUE D-Show will oust the M7CL from Hall Twos FOH position to give the foundation two dedicated Yamaha monitor boards.
We also have Digidesign BNC coaxial cables so there is digital audio flowing but weve put in a complete new multicore analogue system so we can get 48 channels and 16 returns from backstage to FOH, and from backstage to the booth.
As part of the outboard set up, Orbital Sound also supplied 16 Focusrite OctoPre preamps, two 1U units with 8 pres in each, to give further options for incoming productions.
In Hall Two, a flat floor space which can accommodate168 seated or 330 standing, sound reinforcement is again provided by a d&b E15 and Q7 combination, with B2 subs, and an E8 providing front fill on each side of the stage.
Here, Scott Myers has also made use of the collapsible IntelliStage portable stage system. Its extremely compact but supports a huge working load and we can strike the entire stage in15 minutes.
Two other important decisions taken by Orbital Sound and the system designer were to specify a stand-alone Zaxcom digital radio microphone system and Whirlwind Super Concert auxiliary cabling system, to add further splits (56 audio lines) and feeds between stage box, monitors and FOH.
We were very amenable to experimentation and Orbital recommended Zaxcom which is extremely clean, says Myers. There are 16 channels of Zaxcom for use throughout the building offering one of the best sounding radio mic systems for performers.
Finally, Orbital have provided wireless communications from HM Electronics and a wide selection of industry-reference microphones, from Shure, Neumann, Schoeps, Sennheiser and AKG.
There are 135 mics in total including the sound mans luxury item, an AEA-44 which is a remake of the old RCA ribbon mic. I cant wait to use it as it produces a gorgeous sound, says Scott.
The opulent Kings Place is also a centre for the visual arts and everything Scott Myers has achieved in the audio domain he has probably matched in the visual world where he has been equally experimental.
To date I have spent £1.8m on sound, video and lighting and Im not done yet, he promises. This is the best infrastructure you can buy and Im just a satellite dish away from from being able to broadcast live in HD!
Launching with 100 concerts in five days in October, Kings Place got off to the best possible start and its now planning to build on that momentum.
Plans are already at an advanced stage to start their own record label, offer a live download service and provide an edit suite for TV as well as installing an optical fibre system that will send audio anywhere.
Its little wonder that from an initial technical staff of three Scott Myers is now projecting a head count of 35 to manage the growth.
