Factory invests in L-Acoustics K2 speaker platform to stand out from the rest
It has been a challenging and challenging two years for concert and event spaces during the covid pandemic, but what emerges at the other end of a long, dark tunnel is a new generation of more sonic places. The Factory, home to a new entertainment and dining destination known as The District in the St. Louis suburb of Chesterfield, is a perfect example of this dynamic.
The newly opened 52,000 square foot venue can accommodate between 2,350 and 3,400 spectators or event participants in a flexible dance floor and fixed seating configurations that face a massive 60-foot-wide stage. But what sets The Factory even more apart is the breadth of its L-Acoustics sound system, which provides full coverage for every audience member, wherever they sit or stand in the large performance hall. Simply put, the system had to be the best because as event and concert businesses return, they will be more competitive than ever.
“The factory is built on the most valuable real estate in the region and there is no wasted or extra space in the building. So we had to create an audio system that no one could ever say no to,” observes Chip Self, president and CEO of Logic Systems Sound & Lighting, Inc. The St. Louis provided the new L-Acoustic system.
It’s also a system from which no one can tell they’ve missed a note or a word with a dozen K2 speaker enclosures above two Kara II down-fills comprising the main left and law. These are underpinned by two A-series enclosures on each side as fill and output fill, respectively; six eight inch coaxial used for front-fills; and four A10i Wide speakers for delay.
A powerful subwoofer array includes 12 KS28 subs placed in a specially designed concrete pit below the stage and deployed using a proprietary filter set that allows the sub-array to cover more evenly from side to side. the other. A combination of 14 LA8, three LA12X and four LA4X amplified controllers power the system, which is managed by an L-Acoustics P1 processor and connected via an L-Acoustics LS10 network switch.
Equally impressive is the stage monitoring system: a dozen X15s HiQ the corners are surrounded by two A-series systems and two SB28 subs per side, plus two more SB18m subs just for the drummer.
“It’s a big system, and it has to be because it was meant to do a lot of important things,” Self says. “It needs to cover every seat in the house, regardless of the room configuration for a particular event or concert, and it needs to be flexible. We designed it to hang from motorized carts, allowing us to move the main loudspeaker arrays, as well as onstage lighting trusses, to alternate locations or completely out of the way of the sound system. turned, if necessary, all to the touch. of a button. It is a completely flexible system that never compromises on quality.
It is also an interesting design. The extreme width of the stage meant that the two main PA hangers were 68 feet apart, up to 20 feet longer than most designs would require. Some other systems may require two additional pendants closer to the center of the stage, or at least one additional center group, although these solutions may have negative aesthetics, line of sight, and budgetary implications, as well as potential timing issues. However, Self saw much better response in the L-Acoustics A Series speaker used as filler.
“To me, a mid-group solution creates as many problems, if not more, than it solves, while the A-series case solves it elegantly,” he says, citing the narrow horizontal dispersion pattern. and tight from the speaker. “Broader, and it would overlap with the rest of the PA or come back into the scene. As a down-firing filler, the speaker actually feels more like an extension, an integral part of the main sound system rather than a solution, and without losing any stereo imaging for any seat.
Self adds that the extensive PA system and monitoring setup also has an economic component. “We are coming out of a tough time in producing live events and concerts, and venues are going to be competing for shows,” he explains. “What The Factory, with this sound system, can offer is eliminate the need for touring shows to carry their own sound. This can save huge sums of money at a time when there are fewer trucks and drivers available and transportation costs have skyrocketed. A high-quality audio system like this is an integral part of the trading process. »
Another economic aspect is that The Factory’s L-Acoustics system comes under a full-service rental agreement with ongoing maintenance and operational support from Logic Systems as part of the package. Self says this approach to capital funding is a good move for the venue, its business and the brand. “According to these conditions, every five years the room will receive a new L-Acoustics system, so that the room will always be at the cutting edge of technology,” he explains. “It means that the system will also be in the best possible shape throughout his tenure. The site doesn’t have to try to extract every last penny of ROI from it and then hope for a good price when it sells it. This is a victory for them, for us and for L-Acoustics.
Brian Carp, COO of The Factory, is an industry veteran, having held venue management positions at Fox and Boulder theaters in Boulder, Colorado, and House of Blues in Dallas and Anaheim, California. For him, the choice of a sound system was “extremely important, even critical”, for the success of a room. “You want to make sure you’re as friendly as possible when it comes to lighting and sound. You want to make a great first impression for visiting bands, and you want to provide the same experience for fans as well. The L- Acoustics K2 does all of this and more.
Carp, who says The Factory’s vision is to provide a live entertainment space for the entire St. Louis area, also praised the support of L-Acoustics and Logic Systems for the system and venue. “You want to feel like your suppliers are also your partners, and both are,” he says.