Gray added: “When the Oscars’ home name changed to the Dolby Theatre in 2012 we added a new level of audio sophistication and acoustical absorption in the orchestra, parterre and mezzanine floors so surround sound envelops guests in-house and audiences watching at home.” Several locations demanded custom mounts or a double yoke to allow the upper speaker to hang with another below.ĭespite the room being 86 feet high, as the ceiling and walls have acoustical treatments this does not have much sonic impact, apart from adding to reverb time and meaning hanging points for rigging require long chains and cables. Elsewhere, yoke mounts were chosen – essentially u-brackets – and corner mounts, which comprise a plate attaching to the wall and another that attaches to the speaker and is connected by a hinge. The overheads use fixed mounts that attach to mounting points on the speaker. Multiple mounting methods were adopted, depending on the speakers’ location. The surround system used Meyer Sound HMS-10, HMS-12, HMS-15, UP Juniors, 500-HP and X-800 speakers. A total of 65 JBL Control 25T surface-mount loudspeakers were temporarily installed under VIP area audience seats. The system also included three suspended arrays for upper balcony coverage and JBL MS28 loudspeakers were temporarily installed for under-balcony area coverage.
#Metroplolis dolby surround 5.1 plus
The live sound reinforcement system provided by ATK Audiotek featured 30 Harman JBL VerTec VT4889 line arrays, suspended in arrays of 15, plus 12 VT4880 subwoofers in two arrays of six. Cinema equipment was also removed that might be in sight lines or camera lines, interfering with the audience at home. When working with a venue such as this that is adaptable to film screening and awards ceremony use, flexibility and the ability to easily scale to an event are key.Ī set of surround speakers were installed on the side and back walls in the orchestra parterre and mezzanines so that live shows could be mixed in surround sound. The current venue’s speaker configuration was influenced by dimensional size, cubic volume, mounting capability, rigging and seating areas. Prior to the event’s move to the Dolby Theatre – providing a purpose-built facility with more appropriate seating capacity – the Oscars’s home was the Dorothy Chandler Pavilion and the Shrine Auditorium. The most challenging aspect of this process is removing two 50 feet overhead trusses supporting 44 speakers.
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Every year Gray now heads up a team of 20 at the Dolby Theatre and which removes heavy speakers, rigging and other equipment to accommodate the A-list Oscars gathering. His achievements include designing and building a microphone multiplex for tuning rooms along with fellow engineer, Claus Weideman which later became the standard method. Gray’s impact on the audio world is undeniable.
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“In the late 70s I worked for him on the film, Baby Snakes, and was amazed by the collaboration of science and art in the film industry.
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Gray joined the company in 1980 as an applications engineer, after spending the 70s working in live sound – his first real passion – on the road with artists such as Frank Zappa. The sonic maestro overseeing the conversion from theatre to awards venue of splendour is David Gray, v-p worldwide content services at Dolby.