The new FOH system is anchored by 12 M1D cabinets per side for the orchestra level, with a centre array of eight M1D cabinets and two M1D-Sub ultra-compact subwoofers covering the balcony. Peirce had first looked traditional Meyer MSL-4 clusters: "But it just wasn't right for this room," says Pierce. He then looked at the M2D compact curvilinear array: using Meyer Sound MAPP Online software and working in consultation with Meyer Sound's Design Services department, Peirce fashioned an M2D design, then asked Masque to bring out M2Ds for an on-site audition. The system sounded superb, but further analysis revealed that the number of cabinets required to achieve full and even coverage of the entire room would exceed the power requirements of the room - and also break the budget.
Still enthused about the potential of M Series arrays, he thought smaller. The Theatre already had M1Ds as front-fills, so Peirce next investigated the possibility of an M1D-based main FOH system. Returning to MAPP Online, he experimented with configurations and splay angles. This time, the combination clicked. The smooth coverage was there, with plenty of power for satisfying "classic rock" levels. Also, the M1D arrays would have a clean look, stay clear of sight lines, and come well within budget.
"Masque Sound brought in the M1Ds on the day of a show," Peirce recalls. "We put them up in the morning and the result right out of the box was unbelievable. I had just a few minutes to dial it in on the house EQ, using the old school method. But the band engineer heard it and said, 'Don't change a thing.'"
(Lee Baldock)
