Some of the country’s iconic theaters have recently made big improvements in new audio systems. These new upgrades help the venues support the creativity of local and visiting arts and entertainment performers.
AVI_SPL and acoustical consultant Akustiks have modernized David Geffen Hall at NYC’s Lincoln Center with various Eastern Acoustics Works (EAW) products. The upgrade used 18 Anna ADAPTive Loudspeakers, six AC6 ADAPTive Column Loudspeakers, and four Otto Subwoofers.
The David Geffen Hall project included an extensive redesign of audiovisual systems, acoustical systems, and major infrastructure. AVI-SPL was responsible for the implementation of the PA and distributed audio, cinema systems, and LED displays for closed captioning and projection EAW was chosen for the project by Akustiks’ senior consultant Sam Brandt, who has worked with EAW for many years. Akustiks and AVI-SPL knew the brand’s ADAPTive technology was ideal for the Wu Tsai Theater at David Geffen Hall.
ADAPTive systems act as one acoustic source that can electronically define vertical coverage using software. This allows the system to be reconfigured without physically moving or reconfiguring the arrays, making its flexibility perfect for the diverse range of applications hosted at the venue – which is the home of the New York Philharmonic and host to a diverse array of music and performance.
“EAW’s Anna offers a powerful system for highly amplified events,” said AVI-SPL design engineer Ross Moretzsky. “The ability to electronically direct the audio with precision ensures an even, coherent sound coverage for the designated listening area.” AC6 column loudspeakers were added to the system as fill speakers. All three ADAPTive products work in unison.
“The theater was designed with optimal sight lines in mind, and ADAPTive fits right in,” said TJ Smith, President of EAW. “The clean, straight-hang design minimizes visual distraction and aids in creating an intimate relationship between audiences and performers.”
In addition to the speakers and subs. EAW’s Resolution Software enabled the team tos in order to build a full 3D model of the system using CAD files. This allowed precise coordination of speaker placement and integration with other technical teams.
Across the country, the 14-acre Segerstrom Center for the Arts in Costa Mesa, California is home to Segerstrom Hall, a 2,994-seat, opera house-style theatre, the campus’ largest facility and a venue for Broadway musicals, ballet, and other large productions.
The complex also hosts the 1,704-seat Renée and Henry Segerstrom Concert Hall and the 375-seat Samueli Theater – a multi-purpose facility, for jazz, cabaret, theater, and special events – as well as the 53,000 square-foot Orange County Museum of Art. Many organizations call the Center “home,” including the South Coast Repertory the Pacific Symphony, the Philharmonic Society of Orange County, and the Pacific Chorale.
The great sound at Segerstrom Center, is supported in part with the recent installation of six new DiGiCo mixing consoles via Apex Audio. These include a Quantum225 at front-of-house in the Samueli Theater, and another installed in the control room of the Renée and Henry Segerstrom Concert Hall. Additionally, the Concert Hall has a Quantum338 Pulse that is brought into the audience space for shows that require an in-house mix position, while a second Quantum338 Pulse serves as either a “B” console at FOH, or as a monitor console, as needed. Segerstrom Hall similarly has a Quantum338 Pulse installed at its FOH mix position, with another available for monitors. The installation, done by Apex Audio of nearby Huntington Beach, also includes seven DiGiCo SD-Racks spread across the venues, four SD-MiNi Racks.
Not surprisingly, a campus this large doesn’t make big moves quickly. John Downey, Head Audio Engineer at the Renée and Henry Segerstrom Concert Hall, jokes that their previous suite of consoles were verging on antiques. “We take very good care of them,” he says, “but it was time. Those consoles weren’t being supported anymore.”
The search for the next round of desks focused quickly on DiGiCo. “It was a real easy decision,” he says, noting the frequency with which DiGiCo – and increasingly Quantum – appear on their contract riders.
Just as importantly, the consistency of the Quantum operating system across all the campus venues means Downey’s staff – A1 Timothy K. Schmidt at the Samueli Theater, and Phil Harris on monitors, plus James Wilcox, Head Audio Engineer at Segerstrom Hall – can move smoothly among all of the venues as needed. “The ability to use a single surface that operates the same in all the spaces enables our engineers to be able to go from room to room and do what they need to do without any substantial learning curve,” Downey explains. “And then, to that end, everything we bought were nearly identical systems. All seven SD-Racks are identical, and they can roll from space to space as needed. They’re all on HMA fiber and configured similarly.”
That same consistency also helps the staff with the wide variety of performance types hosted in these multiple venues, which can run from pop and classical music to Broadway shows to educational presentations. “Whether we need one channel or an entire console – or even two consoles for a show – everything is on the Optocore loop, as are the SD-Racks that drive my processors,” he says. “That allows me to load a file without having to massively reconfigure things to accommodate whichever ‘flavor’ we’re doing at the time.”
Chris LeBer, President of Apex Audio, had pointed that capability out to Downey a year ago when the updating process was just starting. “It’s a big complex of stages and venues, and they do a lot of different types of shows, so the connectivity between the consoles and their ease of learning and use was big factor in this choice,” he says. “The way Quantum is laid out and the Optocore integration make it like one console for the entire campus.”
But, of course, it’s not, and those consoles will get moved around the campus often. That, says LeBer, is where DiGiCo’s proven value as a touring desk comes into play. “They’re rugged, tour-proven consoles,” he says. “It’s a big campus with a lot of stages, but for a DiGiCo, that kind of moving around is a piece of cake.”
Just up the coast, the storied Shrine Auditorium and Expo Hall, Los Angeles is familiar to local audiences and millions of music and movie fans for a century of awards galas, concert recordings, and film shoots. Celebrating 100 years in 2026, the landmark AEG venue greets its second century with a new L-Acoustics professional sound system designed and supplied by 3G Productions.
This L-Acoustics installation joins a growing network of premium sound systems across AEG’s concert venues nationwide. The audio upgrade aligns with similar L-Acoustics deployments at other mid-sized AEG Presents venues, including the recently opened Pinnacle in Nashville, Atlanta’s 2,300-capacity The Eastern, Brooklyn’s 1,800-capacity Brooklyn Steel, and Boston’s 3,500-capacity Roadrunner. This strategic standardization across properties reflects AEG’s commitment to uniform sound quality and technical rider compliance throughout their diverse portfolio.
“The Shrine’s top requirements of a new PA were that it deliver both impeccable sound and exceptional coverage,” explains Jerrod Cring, Director of AVLI at 3G Productions in Las Vegas. “Also important was versatility and being able to use the system in all the different configurations that they have in the Expo Hall and the Auditorium.”
The sibling venues, located just southwest of downtown Los Angeles next to the University of Southern California, have been managed by Goldenvoice, a division of AEG, since 2013.
The system for the 54,000-square-foot Expo Hall with a capacity for 5,000 attendees, was engineered using L-Acoustics Soundvision 3D audio prediction software. Designed with versatility in mind, the system was delivered as a fully portable setup – housed in touring-grade carts and cases – allowing for seamless storage when not in use and effortless relocation to the 6,300-seat Auditorium as needed. “The Expo Hall has hosted everything from a four-day LCD Soundsystem residency to Charli XCX, the SAG Awards, and high-profile corporate functions.”
For the Expo Hall, 3G Productions designed an L-Acoustics system featuring two main hangs of 12 K2 per side, each with three Kara II for downfill. “The two K2 arrays are hung from motors, just like they would be on a touring show, Cring explains.“ The motorized rigging allows them to be lowered, secured on carts, and relocated with the same efficiency as a touring production.” The same philosophy extends to the KS28 subs, all of which are equipped with dedicated dollies for mobility. The 15 subs are typically arranged in five clusters of three in a cardioid configuration, with each subwoofer cluster topped by a single Kara II for front-fill. A pair of A15 Focus on either side of the stage provides out-fill under the venue’s deep balcony.
“On the upper balcony, we provided two rolling chariots with two KS21 subs and an A15 Focus each,” he continues. These units can be seamlessly repositioned as stage side-fills or deployed for outdoor festivals across the Shrine’s grounds” Halfway back in the Expo Hall, two hangs of six Kara II each provide delay coverage, suspended from motors and supported by bespoke carts.
As with a regular touring rig, power is via LA-RAK II units loaded with LA12X amplified controllers. A P1 processor in a drive rack at FOH runs the system, with everything networked over Milan-AVB. “At the same time, we also supplied a DiGiCo Quantum225 as a house mixing console. While our rental division can provide any artistspecific console requirements, this installation offers venues a high-performance mixing solution that is ready for immediate deployment during events requiring streamlined technical specifications.” Cring says.
The L-Acoustics system offers full reconfigurability for Shrine Auditorium shows. “We provided Kara II down-bumpers to extend the K2 arrays for front seat coverage,” Cring elaborates. “Components from the Expo Hall delays can be repurposed as a center-fill of five Kara II.” The Auditorium setup requires fewer subs to maintain clear sightlines. The remaining speaker enclosures can be used for lip-fill and in-fill across the wide stage.
