Catalog

At its maximum capacity, this system pushes over 4,000 watts into 8 cabinets, totalling twelve [12] 15-inch drivers and four [4] compression horn tweeters, and can comfortably deliver sound to crowds of at least 300 people. Comprised of made-in-USA Cerwin-Vega subs, JBL 2x15 mains, and efficient, exacting Crown XLS amplifiers.

Soundcraft Si Impact, Behringer X32, X32 Rack, Allen&Heath ZED-428

Perfect for theaters and small-to-midsize venues that need a little help, this is a system of up to seven  speakers roughly the size of a shoebox (that I lovingly call the Chuck Taylors) that can be distributed among the downstage lip of stage to reinforce program audio to the lower rows of seating, where many house systems have trouble reaching. They're powered by Crown amplifiers over 14-AWG speaker cabling long enough to be discreetly snaked along the edge of the stage, and they’ll be processed and time-delayed by a state-of-the-art architectural DSP. I’m particularly proud of this whole system, if you couldn’t already tell. 

A painstakingly assembled collection of over 100 world-standard mics, modern and vintage. Some personal favorites include an early-issue Shure D520 "green bullet", ElectroVoice RE11s, and two Super55s, but check out the mics page for all the gory details. In conjunction with a variety of over 40 mic stands and thousands of feet of Rapco Horizon mic cable I personally assembled to ensure reliability, this sonic armada has reinforced pit orchestras of 30 seats and more.

A fully-licensed, whole-shebang install of QLab 4 running comfortably on a 2014 Mac Mini. An additional audio interface can also be outfitted, per your show's needs. Dipping into my assortment of AV equipment, I can wire two mirrored screens of the QLab main station- great for giving a Stage or Deck Manager visual confidence for where the show is, technically- often alleviating some of the “What Q are we on?”. 

Shure SLX-series wireless, rentable in 4, 8, 12, and 16-mic packages (with a good chance I’ve purchased more units since press time, please inquire!). I've completely outfitted this system to run on UA combiners that I wired up by hand using RG-8, and topped off with Shure unidirectional paddle antennae. Bodypacks are in J3 and H5 bands, which are yet legal in the US, and pretty friendly with the Chicagoland airspace.

Clear-Com 500 series ‘coms system. Currently three [3] single-channel beltpacks and four [4] two-channel remote stations, excellent for FOH seats. Older units, yes, but built rock-solid and well-kept since then. This comes with a 4-channel ClearCom brand power supply with two paired Program-ins, and optionally, a Clear-Com PIC 4000B IFB unit and TW12 to tie into most venue’s existing systems. 

Get a high-quality video capture of your show to remember it by. A typical formula for this involves 4 to 6 shots, including a wide shot of the stage, one or more professionally manned cameras following the action of the show on a tight zoom, and two cleverly-implemented GoPros. The audio of the show can be captured directly off our digital mixers, and the blend between the characters and the orchestra can be adjusted for the playback experience. All these elements are then edited together “in post” to compellingly retell the story of your show.

One of the greatest advantages of hiring sound reinforcement from us is that it’s often driven by our BlueNet-series SoundWeb DSPs, or digital signal processors. These frankly incredible units (often several of them) are responsible for realizing the audio demands of leading convention halls, theaters, and sports arenas the world over. Under the hood, a computer can perform a whole host of audio operations on any signal it’s receiving like summing, mixing, EQing, compression, splitting, routing, crossovers, delays and plenty more. This processing will be custom-tailored to the specific needs of your PA system using BSS’s accompanying design software (*by me. Don’t worry, that part’s included.) If you want your sound system to be impeccably tuned and still flexible, let’s talk SoundWeb.

Multicam, HD video broadcasting to your favorite flavor of livestreaming service. Video mixing done a Blackmagic ATEM switcher with up to six live inputs, with cameras provided.

Okay, this is a little niche, but bear with me; you’ve probably ran into it before. For your consideration, this is a “video conferencing solution,” for lack of a better term, for when two parties of your show need to have an eye on each other and can’t, due to their location. The most common example is the conductor and the stage. Marshall 1080p sports cameras and Planar video monitors will give both parties in question visual confidence of each other in beautiful clarity. Save your stage manager the trouble of looking for that camcorder they bought in 2007 for their trip to LA the night before first dress.

Christie-brand projectors at WUXGA (1980x1200px native) resolution, 4200 working lumens. Screens available in 100-, 120- and 150-inches, and of course other, more creative surfaces can be projected upon, such as set pieces, art installations, etc. as well. A variety of mounting hardware available. Wherever you need a projector, we'll find a way to hang it there.

A durable, solid-wood pit wall, for putting some separation between your audience and your orchestra. Built in twelve 48"x42" wall segments, capable of spanning roughly 48 linear feet.