The Cerritos Center for the Performing Arts (CCPA) is renowned for its unique ability to physically transform into multiple configurations. The team has completed installation of a d&b audiotechnik XSL-Series loudspeaker system, addressing critical challenges related to acoustic control and logistical flexibility, while making the venue more rider-friendly for numerous touring acts who choose the CCPA to reach Los Angeles and Orange County communities Jon Bullock, Theater Head Audio and Video Specialist for the CCPA, shares details of this dynamic installation.
The Cerritos Center for the Performing Arts is highly unique in its ability to reconfigure itself. Can you describe how the physical space changes?
John Bullock: The venue is an amazing place. When it opened in 1993, the CCPA was one of only two venues worldwide that could reconfigure to different stage setups. The sheer engineering required to transform the space is astonishing, and our theater can shift among six layouts. For example, we can transform from Lyric Configuration, which is a typical proscenium theater with rake seating and about 70 different line sets for theatrical productions, to our Arena Configuration, which features a bare floor where we build a stage using a steel deck. This allows us to truly offer the best experience to our patrons, one that’s optimized for the programming that’s being presented.
The process is an engineering feat, and the walls of the venue move to accommodate the different theater configurations. Heavy towers, weighing anywhere from 100,000 to 300,000 pounds, float on air casters, which are big air bladders pumped with compressed air. This allows them to be pushed into place manually or mechanically. The floor itself consists of lifts that drop 12 feet from the main floor level for storage of seating wagons or raise to create rake seating. Even the ceiling panels fly in and out. For the Arena Configuration, the panels fly out vertically, and for others, they lay horizontally to create a traditional ceiling. The configuration process generally takes a full day or two to change over the entire theater. The only parts that remain stationary are the rear balcony levels.
Given that the entire venue changes, what were your objectives when choosing and designing the new sound system?
JB: The main challenge was designing a system that could easily be dismantled and reassembled effectively in the different layouts. When we reconfigure the building, the PA, cables, and lighting come down completely, and most soft goods are removed.
The new audio system design had to anticipate for multiple configurations months ahead, factoring in cable lengths, power consumption for amplifiers, and calculating every measurement. In one configuration, the stage may be wider or the seating distance different, and the distance from the downstage edge to the front of house position changes completely. For example, in the Lyric Configuration, the proscenium opening dramatically lowers the maximum trim height to only 26 feet, whereas in Arena Configuration, we can fly higher.
Other objectives for the theater’s audio system span coverage, voice intelligibility, and overall tonality. We needed a system that offered a far more superior audio experience for our patrons than our previous system provided. More importantly, we needed a system that could meet tour rider requirements, which our prior system was unable to do.
We ultimately chose the d&b XSL system, which met all our objectives, and we found to be the perfect size for the venue. The smaller enclosure size of the XSL also offers minimally intrusive sightlines compared to the prior system, giving lighting and set design crews greater flexibility during setup.
How does the d&b system specifically adapt between your primary Arena and the Lyric Configuration?
JB: In the Arena Configuration, we’re flying 14 boxes of XSL per side (6 x XSL8 over 8 x XSL12). We use delays — two V-Series V12 per side — to cover the last eight rows of the upper balcony because our 43-foot ceiling height doesn’t allow the main array to hit the very top balcony without causing sightline issues. We also use ground-stacked components: two XSL-SUB per side with a single XSL12 on top, and four SL-GSUB across the front.
When we change to the Lyric Configuration, the stage moves 20 to 25 feet closer to front of house. We utilize the same XSL flown boxes, but the angles and bumper points change dramatically. We remove the large ground stacks and rely solely on front fills. The lower proscenium height (26 feet) means our trim height drops dramatically
I rely heavily on ArrayCalc to determine the tuning and coverage patterns for each configuration, which are then realized through ArrayProcessing. This makes the transitions so much easier. I am developing specific presets tailored to the various venue setups as they come up in our schedule, which we can then recall when we return to any given configuration.
Can you tell us about the other configurations?
JB: Recital Configuration is similar to Lyric Configuration and features 6 x XSL12 flown per side and 2 x V12 per side for upper balcony delays. We used this configuration for a recent string quartet performance.
Cabaret Configuration is a smaller, more intimate arrangement that uses 2 x XSL12 on top of 2 x XSL-SUB stacked per side, supported by 4 x E-Series E8 front fill speakers.
Lastly, our Concert Configuration setup includes 9 x A-Series AL90 in a 180-degree center cluster array, and 8 x E8 front fill speakers.
Does the XLS System make those Configuration changes easier?
JB: d&b’s rigging and portability have been a massive benefit for a venue that tears down and resets the PA frequently. The previous system was large and cumbersome, and the rigging was difficult to comprehend. With the new d&b system, our rigging is so easy. I have crew members, some of whom are very new, and they can quickly comprehend and master the process. For instance, changing the array angles while the system is hanging is simple enough for two people to do.
The ease of use, speed, and efficiency of this system also translate into cost savings, requiring less crew time and reduced power consumption. This eliminated the need for additional cables and amplifiers that were used in the prior system.
And how has the sonic performance been?
JB: The results have been overwhelmingly positive. The sound reproduction in the room is greatly improved, providing a far superior audio experience. Clarity is a constantly recurring theme. People notice the detail and tell me they can now hear everything. We ran a stress test, pushing it up to 108dB. People were amazed that it was loud yet did not “hurt” and still remained clear.
One of our biggest objectives was achieving low stage volume and minimizing low-frequency build-up. The low-frequency cardioid behavior in the XSL arrays was instrumental in solving this. The crew, including my monitor engineer, noticed a huge difference right off the bat. The monitor engineer specifically loves the improved gain before feedback.
The rear rejection behind the PA is mindblowing. When the system was first installed, crew members and front office people were listening to it while I was pushing 98 to 100dB out front. They could walk directly behind the PA and have a normal conversation without shouting. Broadband directivity control is a huge benefit in front of the PA as well, because the movable ceiling panels above the audience create a 40-foot void and can cause weird reflections. By keeping the sound focused, we mitigate unwanted reflections. Front-of-house engineers all love the improved gain before feedback, and it makes their job a lot easier.
What performances have happened at the Cerritos Center since the d&b system was installed, and how have touring engineers reacted?
JB: We’ve hosted an eclectic mix of acts. Early shows in the Arena Configuration included Boyz II Men, Dionne Warwick, Buddy Guy, The Temptations, and The Four Tops. In the Lyric Configuration, we’ve hosted Grammy winner Kenny G, Jazz icon Chris Botti, and KC and the Sunshine Band. We also had non-musical acts, such as the MasterChef show, magician Lance Burton, and comedian Jay Leno.
I am not exaggerating when I say that touring engineers have been ecstatic when they arrive. They come in, expecting the prior system, and when they see the d&b rig, they’re immediately happy, and, of course, they usually comment on what a great-sounding rig it is after the show.
What are your overall impressions of d&b audiotechnik?
JB: I’m a huge fan of d&b. Our relationship with d&b, from the technical field team to senior management, has been fantastic. We’re a medium-sized venue, but they always treat me like a top-of-the-line touring guy, and their support is unwavering.
The German technology and the attention to detail are incredible. The efficiency of the amplifiers, the processing integrated right into the amplifier, and the ease of ArrayCalc software make deployment and tuning so simple. My assistant, who has been here since the theater opened, was blown away by how easy it was to learn and comprehend the system. The system was so good that I was able to “throw it up and go” for the first couple of shows without detailed tuning—and it still sounded great.
Looking to the future, we are discussing a possible Soundscape installation in our multipurpose room. The relationships and the quality of their products are the biggest reasons the CCPA is happy to be a d&b audiotechnik house.
