"The RIVAGE PM7 and CL5 addressed all our points and then some," he added. MPAC also hosts non-music events like speaker conferences and dance competitions and their new audio mixing capabilities allow the team to easily handle this diverse workload.
The consoles run on a redundant Dante network using Yamaha 16-port network switches to manage primary and secondary lines into the consoles for fail-safe operation. "If the primary network goes down then the secondary takes over immediately," he said.
This also gives Young the flexibility to use either desk at FOH or monitors. "If we need 20 stereo ear mixes for a show, then the RIVAGE PM7 goes to monitors," he said. "Another show may only need six wedge mixes on stage so then the CL5 takes the monitor job. We can do either easily with the added benefit of multitracking everything for a live recording, for later editing in post-production or doing virtual soundchecks, all without having another copper split. The possibilities are endless."
MPAC is using Rio I/O boxes running sample rate conversion HY cards to support different sample rates.
"We can run the RIVAGE PM7 at FOH at 96 kHz and the CL5 on monitors operating at 48 kHz," he said. "This card lets us use both consoles at those different rates and the Dante technology figures it out and makes it work. It's human-friendly."
The Yamaha equipment was supplied by Rod Sintow of Pro Sound & Video, Miami, Fla. Both desks are housed in custom-made flip cases built in Poland by Lukasz Zawada's ZCase Company for fast one-person deployment. Young also credits MPAC's management, especially GM Allen Sanders, with making audio quality a priority for the guests and performing artists, and that includes the upgrade to the Yamaha consoles.
"Unlike older theaters built mainly to amplify the spoken word," he said, "this is a ‘dead' room, so for amplified music, it's a sound man's dream."