The latest cool club in L.A. is The Bellwether, a 1,600-capacity, 45,000-plus-square-foot, multi-room complex with an audio system that's ready to rock.

The Bellwether features a 144-input Avid S6L 32D at FOH, located at the lip of the balcony in a “crow’s nest.” Photo: Steve Harvey.

Back in 2015, as downtown Los Angeles was starting to reawaken, Michael Swier, co-founder of the Bowery Presents in Manhattan, took the opportunity to open his first West Coast venue, Teragram Ballroom, a 600-capacity space in the nearby Westlake neighborhood. Two years later, he launched his second L.A. venue, the 275-cap Moroccan Lounge. Now, Swier has thrown open the doors of the Bellwether, a 1,600-capacity, 45,000-plus-square-foot, multi-room complex right on the edge of downtown L.A.

While the origins of the building are lost in the mists of time, it has hosted a succession of nightclubs over the decades, most famously Prince’s Glam Slam West in the early 1990s. Swier and his team have reworked the previously derelict space to create a large, general admission, live music venue with a 270-degree wraparound balcony and wooden dance floor; a large, multi-use event space with separate outside access; a restaurant, lounge and bar with a small stage; a VIP room with private entrance; and an indoor patio area with one wall that opens onto views of the city.

The audio team that got The Bellwether ready for opening night, from left: Jeff Del Bello, president, dB Sound Design; Jon Zott, production manager, the Bellwether; Francis Valentine, senior engineer, dB Sound Design; and Michael Panepento, acoustician, Alabama Music and Audio Supervision. Photo: Steve Harvey.

For this latest venture, Swier—co-founder and owner of New York’s Mercury Lounge, Bowery Ballroom, Music Hall of Williamsburg and Webster Hall, among others—has partnered with Gregg Perloff, co-founder and CEO of Bay Area independent concert promoter Another Planet Entertainment, which runs San Francisco’s Outside Lands, reportedly the largest independently operated festival in the U.S. Following opening night with Phantogram on July 11, the Bellwether’s busy calendar for August and September includes the likes of Santigold, Carly Rae Jepsen, Sudan Archives, Yo La Tengo and Wilco.


Swier’s venues reflect his philosophy that top-quality production technology, acoustics and staging are essential to the experience for the artist and audience alike, as he has repeatedly demonstrated since opening the Mercury Lounge in 1993. To that end, he once again called on Jeff Del Bello, president of New Jersey-based design, installation and sales company dB Sound Design, to handle audio and lighting design and integration at this newest location.

Del Bello has been installing d&b audiotechnik speakers in Bowery Presents venues since day one, but the Bellwether’s complement, from the main room to the event space to the lounge and the lobby, may be the largest collection yet. In the main room, Del Bello, assisted by dB Sound Design senior engineer Francis Valentine, installed an array of six d&b XSLi boxes on each side of the proscenium. Five KSLi-GSUB subwoofers have been set into the front of the stage. “I like to have one centered in the middle, so it’s always an odd number,” Del Bello says.

A pair of Yi10P out-fill boxes cover the balcony to either side, with another four providing stage lip fill. There are 10 M4 bi-amped wedge monitors available onstage. Everything is powered by 4-channel D40 class D amps.

When d&b introduced the XSL Series a few years ago, the company touted its performance-to-size ratio, to which Del Bello enthusiastically attests. “This system will rip your head off; it’s crazy how powerful it is,” he says, “and it sounds really good. We fired it up, and with very little equalization, it was already in the ballpark.”

Swier admits that he initially turned tail and left as soon as he saw the four support pillars in the middle of the dance floor. Happily, his brother and business partner, Brian, an architect, developed a solution to remove the columns and provide unimpeded sightlines from anywhere in the room. “It was not an inexpensive fix,” says Michael Swier, “but a doable one,” involving the construction of a large support truss on the building’s roof parking area.

The main d&b audiotechnik. speaker system includes six d&b XSLi boxes and a Yi10P on each side. Photo: Steve Harvey.


Previously, Del Bello would typically specify various digital or analog Soundcraft or Midas consoles at Swier’s venues but has since largely standardized on the more rider-friendly Avid platform. The Bellwether offers a 144-input Avid S6L 32D at FOH with a 112-input S6L 24C at the monitor position.

The FOH console and the lighting desk (dB Sound Design added lighting services five years ago) are in a crow’s nest, about 18 feet wide, that has been built onto the front of the balcony at the rear of the hall. If a tour is carrying its own desk, that’s no problem, says the venue’s production manager, Jon Zott, who has moved over from the Teragram, which is just a few blocks away. “So many people are bringing their own consoles, so I can move the Avid aside,” he says. The monitor mix position and amp racks are also on the balcony level in a room overlooking stage left.

Nowhere in the main hall is further than about 50 feet from downstage center, Zott reports, and the FOH mix position provides an accurate representation of the room. “We’re only talking about 21-foot ceilings, so it does translate really well. The subs translate fantastically well. It’s basically the same mix in the balcony as right in the center of the floor.”


The Bellwether’s event space is a flexible-use room that Del Bello has equipped with a dozen d&b 8S coaxial top/mid boxes on a grid, Bi6 subwoofers at the four corners, and a 21S infra-sub at each end. The amplifier model he preferred wasn’t available, so there are 16 individual cable runs from the d&b 5D amps, leaving the door open for a potential upgrade to an immersive setup, he says.

In the lounge, Del Bello has outfitted a small stage with d&b E12-D boxes, Bi6 subs and M6 stage monitors. There are two Midas M32 desks available, but the FOH console may yet be swapped out for the tablet-controlled rack version, he says.

A significant contribution to the main room’s performance, and a trademark of any of Swier’s venues, is that he always brings in an acoustician to add whatever treatments are necessary. At the Bellwether, acoustician Michael Panepento of Alabama Music and Audio Supervision has installed Owens Corning 703 broadband absorption along the front face of the entire balcony, together with drapes along the back and sides of the balcony level. The ballroom ceiling has also been sprayed with K-13 insulation (that sound-deadening fluffy finish you may have seen in parking garages).

Panepento additionally designed and installed wood paneling on either side of the stage. “It’s basically a Helmholtz-type design, a full-frequency diffuser and absorber,” he explains. “Whenever I use them, I get great results. Very few people will go to this length to do it, both acoustically and aesthetically, but I love the aesthetics and it does what it’s supposed to do; the room sounds really good.”

Zott agrees. In all his years of touring, he says, he has never encountered another similarly sized venue in the U.S. or Europe that sounds as good as the Bellwether. “You walk into this space, turn it on, and it’s like you’re listening to your monitors at home. I don’t know too many rooms with this capacity that feel and sound like a living room.”

By Steve Harvey. The team behind New York’s Mercury Lounge and Bowery Ballroom opened a new music venue in downtown Los Angeles in September. The 275-capacity Moroccan Lounge features installed audio and lighting production packages that belie its small size, including a Soundcraft Vi2000 digital console at front-of-house driving a d&b audio-technik Y Series main speaker system, and a grandMA2 lighting desk and comprehensive stage lighting.
LOS ANGELES, CA—The team behind New York’s Mercury Lounge and Bowery Ballroom opened a new music venue in downtown Los Angeles in September. The 275-capacity Moroccan Lounge features installed audio and lighting production packages that belie its small size, including a Soundcraft Vi2000 digital console at front-of-house driving a d&b audiotechnik Y Series main speaker system, and a grandMA2 lighting desk and comprehensive stage lighting.
“There’s no sub-300-capacity venue that I can think of that has our audio and lighting specifications,” says Will Pfeffer, the venue’s production manager. “If you’re Grizzly Bear, who can sell out three nights in a row at the Wiltern,” referring to the 1,850-capacity L.A theater, “but you want to start off the tour with an intimate show for the biggest fans, and production doesn’t want to skimp on the quality of the venue, then this is the venue.”
The Moroccan Lounge, founded by brothers Michael and Brian Swier and their partner Joe Baxley, is the team’s second L.A. venue; the Swiers opened the midsize Teragram Ballroom (featured in PSN, June, 2015) two years ago. Both venues reflect Michael Swier’s belief that top-quality production technology, acoustics and staging are essential to the experience for the artist and audience alike.
The team saw a quality gap between the city’s 300-capacity clubs and 600-plus-capacity venues like the Teragram, reports Pfeffer, who has relocated from the Bay Area, where he was a staff FOH engineer at Terrapin Crossroads, the venue owned by the Grateful Dead’s Phil Lesh. “We want to provide a stepping stone for those bands who are not yet able to fill Teragram Ballroom.”
Jeff DelBello, of New Jersey-based design, installation and sales company dB Sound Design, has provided services at all the Swiers’ venues; here, he installed d&b Y10P two-way passive loudspeakers for the mains, and three Y-Subs in an array below the stage.
“In some of these smaller clubs, there are sightline issues, so they wanted to get the speakers up as high as they could,” says DelBello. But the ceiling above the audience area to the right of the stage, in front of the FOH position, is slightly lower, so he installed a Y8, which offers more focused directivity, for fill.
DelBello had allowed a week to set up and tune the system, but there was a setback: “When we got there, the general contractor had cut all the wire out for the house system and we had to re-run everything, in five days. The people from d&b came out and did the system tuning with Will and Sam Coy, a local sound engineer who works at the Teragram.”
The Mercury Lounge has a Soundcraft Vi1000 at FOH. “People like it, it’s simple to use and it sounds great, so they decided to go with it again,” says DelBello. “Tom Der [national sales manager, Soundcraft USA] gave us a great deal and we were able to get the Vi2000 at the Moroccan Lounge.” Because of the desk’s on-board processing, there was no need for outboard gear, he says.
“I would say it’s the most user-friendly board out there,” adds Pfeffer. “It doesn’t skimp on preamps and quality or the Lexicon effects.” Monitors are typically run from the Vi2000, he says, but there is space at stage left if a tour is carrying a console.
Onstage, Pfeffer continues, “We’ve got a lot of Sennheisers, including a couple of MD431s, my favorite for vocals, and Sennheiser 6 and 9 series for vocals, drums and guitars. We got a whole Telefunken drum mic kit, and the gamut of Shure mics—Betas, 58s, B7s, SM81s, an SM7. And we got the newest K+M heavy-duty mic stands. We run Radial JDI direct boxes.”
There are six wall-mounted Soundtube speakers in the bar, which are fed from the Vi2000 on show nights and can be controlled by the bartender.
In addition to Grizzly Bear, Julian Casablancas + the Voidz and Grouplove also played during the club’s opening period. “Those underplays created a lot of buzz about the place,” Pfeffer reports. “We had a lot of interest before we opened, but now it’s gone to a different level.”

ProSound News - Bowery Ballroom

Refitting New York's Bowery Ballroom

Posted on Mar 15, 2017
By Clive Young

ProSound News Magazine

Installing a new d&b audiotechnik PA at New York’s famed Bowery Ballroom were (l-r): Christopher Kulesa, application support, d&b audiotechnik; Kenny Lienhardt, house engineer; Michael Winsch, co-owner, Bowery Ballroom; and Jeff Del Bello of dB Sound Design.


NEW YORK, NY—Almost from the day it opened—June 3, 1998—The Bowery Ballroom in New York City has been a buzz- making venue. A prime showcase venue for record labels showcasing their hip new bands, the 575-capacity venue has also hosted memorable shows by Metallica, R.E.M., Nine Inch Nails, John Cougar Mellencamp, Bruce Springsteen, Red Hot Chili Peppers, Queens of the Stone Age, Crowded House, Courtney Love and many more. Throughout all those concerts, however, there was one constant—the PA, which was finally taken out of commission last summer after 18 years of hard service.

“It was EAW KF650s—two on each side, and the trio in the center was KF695s,” recalled Kenny Lienhardt, house engineer since opening night. “All Crown amps. Three double-18s under the stage across the bottom, which worked out great. This room sounded so good with the wood floor and another level underneath—it would just translate under your feet, like everybody had a personal sub; it was great. The neighbors are killin’ me, man.

The neighborhood around the venue has changed dramatically since the Ballroom first opened in 1998. Back then, the area was rough and tumble, with no one around to complain if things got a little loud, but these days, there’s a new 25-story hotel behind the venue, plus AirBnB apartments, pricy eateries and others who now have to be taken into consideration.

With the changing neighborhood requiring a more prudently applied PA, it was time to update the system and take advantage of improvements in live sound over the last two decades. Some aspects would stay, like the analog Midas Heritage 3000 console at the FOH position, but the PA would be replaced by a modern d&b audiotechnik rig that would be carefully focused on the audience. The new installation would also provide an opportunity to finally implement a true LCR system, something the owners had wanted since first opening.

With aid from d&b audiotechnik in the form of Education Training/Application Support specialist Christopher Kulesa, Winsch, Lienhardt and Jeff Del Bello of dB Sound Design, the new system’s designer/installer, took down the old EAW rig in a day and had d&b boxes flown within two days. “Sad taking those speakers down; it was a lot nicer putting these up though,” cracked Winsch.
The new LCR system sports V7P over V10P elements left and right, with the 70 degree cabinets on the top and 110 degree cabinets on the bottom, while the center hang sports two V10Ps. Down below, Y10s are used for front fill coverage. Powering all that are three d80 amplifiers.

Providing low end is a horizontal array of V subs; Kulesa explained, “That way, we can not only get pattern control forward and backward from the cardioid behavior of the cabinets, but also, because of the horizontal dispersion, we can control where the low frequency energy goes, so that it focuses on the audience and minimizes energy on the walls. That keeps it from being muddy and prevents the build up of nodes, potentially.”

Much of the quick turn-around (two loose days of tuning followed before the venue reopened) came down to preparation. “It was great, with Jeff sending me the Array-Calc file,” said Kulesa. “I could look at it and the photos of available rigging points and say, ‘These are the things you’re going to run into; try doing this, and you’ll have to prep some stuff on the ground.’”

Del Bello added, “What Christopher said, it was pretty spot on. We got the right angles, hoisted them up and attached them. In terms of size, the speakers are smaller, but in terms of power—and it’s clean power—it’s like night and day. A whole different thing. I think the issue will be putting an upper limit on the system.”

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This article first appeared in the March 2017 issue of Pro Sound News as "Bringing The Bowery Ballroom Up to Date.

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ProSound News - Gigantic

Innovation Hits The Floor at Gigantic

Posted on May 5, 2017
By Steve Harvey 

(http://tw(hitttepr:./c/womww/P (http://dev.prosoundnetwor
PtoSound News Magazine

Gigantic's dual-operator Avid S6 console disappears below floor level when not in use.


New York, NY (May 5, 2017)—Boutique audio post production facility Gigantic Studios, located in Manhattan’s Chelsea neighborhood, recently added a dual-purpose room equipped for both sound mixing, including Dolby Atmos work, and color correction. “My main excitement about the room and its innovation is that the floor slides away and reveals a pit,” says facility co-founder Tom Paul, a two-time Emmy-winning re-recording mixer and sound designer. Paul partnered with Gigantic Pictures’ CEO Brian Devine, the owner and visionary behind the facility, in 2006.


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Paul’s innovation was to have the dual-operator Avid S6 console disappear below floor level, optionally giving a color correction artist an unobstructed view of the screen or enabling extra seating to be brought in for screenings. Paul and Devine collaborated on the project with Dennis Darcy and his logistics coordinator, Pawel Szarejko, of Dennis Darcy Construction Group (DDCG), and Jeff DelBello, of design, installation and sales company dB Sound Design. The team came up with the idea of mounting the two S6s on an Autoquip scissor lift table, which is more typically used for motorcycles. The consoles, modified with removable meter displays, are on rails and can be spread outwards once the lift is raised, creating a central producer’s desk.

The floor below where the mixer more typically sits pushes back to provide standing room. “I can dance around,” says Paul. “I’m over at the music, then back at the dialog, then diving for the reverb. It brings a whole new element of physicality and body involvement to the mixing, which is energizing.” The adjustable lift can also accommodate mixers of different heights, he notes.

DDCG built Gigantic’s original facilities, which opened in 2006 and comprise two mix rooms, several edit suites and an ADR/Foley studio, plus a machine room and offices. Gigantic shares a kitchen, conference room and a lounge—and clients— with entertainment law firm Gray Krauss Stratford Sandler Des Rochers.

DelBello installed 16 channels of Crown-powered JBL 9000 Series speakers: three on the side walls, four on the ceiling and two at the back. “Pawel, who was integral in getting the lift together, came up with a custom plate to put behind the 9300 speakers. We wanted to mount them flat to the wall. It was a great solution,” says DelBello.

The LCR mains and subs are from Grimani Systems. “Tony Grimani has been a friend for a long time. He designed the acoustics of four rooms that I’ve built over the years,” says Paul.
Formerly with Lucasfilm and co-author of the THX spec, Grimani now has a high-end home theater consulting and manufacturing business. “He helped me figure out some of the isolation and construction of this room.”

Paul installed Grimani Systems Alpha LCR speakers for a fraction of the six-figure retail cost. “Tony said, ‘I want to sell you, for pennies on the dollar, my hand-built prototypes.’ We also have his 18-inch subwoofers in the four corners. There’s a special phase relationship, so you get very smooth bass response throughout the room.”
Unusually for a mix stage, says Paul, the room is bass managed. “Tony thinks outside the box. It sounds amazing, and super accurate.”
To handle monitor configuration switching and level control, DelBello installed a BSS Soundweb London system, programming the software with assistance from Chris Neylan, chief engineer at Soundtrack New York, (coincidentally, DelBello’s former job). “Chris was a big help. He did a lot of these rooms at Soundtrack,” says DelBello, who also consulted with Avid applications specialist Robert Miller on the project.

During his research, DelBello concluded that NTP Technology’s DAD AX32 was the optimum interface solution for the room. The DAD unit is fitted with a Dante card, feeding up to 64 channels to the BSS box, which in turn feeds the Crown amps over the BLU Link digital audio bus. “The only time the signal leaves the digital realm is when it’s converted in the amplifiers,” says DelBello.
“You can put two Pro Tools ( systems into one DAD box. There’s a software monitoring program within the DAD that synchronizes to the S6 and it controls all the monitoring. And it’s got a matrix built in,” DelBello reports.

“I started talking to everybody and Robert said Avid is now licensing DAD. That was a confirmation that made me feel good,” he says. Avid is now selling the AX32 as the MTRX.

“We put in a DCI-compliant Barco, so it’s one of the few rooms where you can screen a final DCP and accurately judge color and sound,” says Paul. “Normally you have to apologize for one or the other.”
Although Paul has yet to do a Dolby Atmos mix in the room, he says, “I’m emboldened by the fact that the consumer market really seems to have embraced it. I was also encouraged to go that way because of Avid’s commitment to the format.” Paul has signed up to beta test new immersive features in Pro Tools, he says.

Paul, whose resume includes films such as The Big Sick, Cartel Land and The Wolfpack, would also like to attract some A-list TV business into the dual-operator room, which offers plenty of space for clients, including a custom 14-foot-wide desk. “New York is exciting right now; there’s a lot of good work happening, and we wanted to build a state-of-the-art room so we couldinvite that in. I’m so, so proud of this room.”

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ProSound News - Gigantic



ProSound News - Rock 'n' Roll High School

Oufitting a Rock ‘n’ Roll High School
Posted on Dec 19, 2016
By Steve Harvey 
ProSound News Magazine

Recreating The Power Station’s famed control room in New Jersey-based Mount Olive High School this summer were (l-r): pro audio installer Jeff DelBello; producer/engineer Ron Saint Germain; and Power Station founder Tony Bongiovi.

FLANDERS, NJ—Mount Olive High School (MOHS), rated among the top schools in the nation, made some major upgrades to its facilities over its summer recess, including the construction of a recording studio outfitted with an API Vision analog mixing console. “It’s a real, honest-to-God Rock ‘n’ Roll High School—with a Power Station control room,” says producer, engineer and mixer Ron Saint German, who lives in the area and was brought in to consult on the project.

Unlike the rock ‘n’ roll high school depicted in Roger Corman’s classic 1970s B-movie of the same name, where the students choose the Ramones instead of an education, MOHS, “Home of the Marauders,” offers a curriculum to keep even the most rebellious teen happy. And with the start of the 2016-2017 school year, MOHS has added Audio Engineering and a Rock and Roll Academy, both based at the new recording studio, which is known as MPAC.

When Saint Germain says that the new facility has a Power Station control room, he means exactly that. After his name was put forward by a mutual friend when the school district’s superintendent, Dr. Larry Reynolds, went looking for professional guidance as the project neared its final stages, Saint Germain met with the architects
They apparently had no previous experience with designing studios. “I said, if you want to build a world-class studio, I’m happy to help you out. If you want to build this, good luck,” he recalls, after looking at the plans.

Happily, a large portion of the available space, a former gym that had been—and will continue to be—used for wrestling matches, had been set aside for the control room. “In my head, I could see Power Station’s Studio A control room just drop right in,” he says. He called Tony Bongiovi, who opened the Power Station (later sold and renamed Avatar Studios) in Manhattan in 1977. “Tony and I have been friends for 43 years. And I knew he still had the plans for the Power Station.”

“This is the tenth control room that I’ve built. Some are replicas of Studio A; that’s the control room I’ve replicated the most,” says Bongiovi, who licensed his plans to MPAC’s architects.
MOHS, which has about 1,450 registered students in grades 9 through 12, is very technology-forward. The school has long housed a professionally-equipped TV production facility that broadcasts over closed circuit and locally over-the-air. Its robotics department was started in 2000 and has won multiple awards. As part of this summer’s renovations, the school has also opened the new Marauder Innovation Learning Lab, or MILL, equipped with 30 3D printers, in the same part of the facility as MPAC.

“This is not just a room that we threw some equipment into; it’s the real deal,” Bongiovi continues, noting that the original room has generated hundreds and hundreds of hit records. “The most mindboggling aspect is that these are high school kids. I was in high school in 1966; if you wanted to work for Columbia Records, you had to get an engineering degree from Rutgers University. I was very impressed that the school system would have something this elaborate.”

Jeff DelBello, also based in New Jersey, supplied a portion of the studio equipment and all of the wiring and integration work through his two companies, DB Sound Design and DB Sound Store. “It was such a treat to deal with two guys, Ron and Tony, that really know what they’re doing. I’d be halfway through an explanation and Ron would say, ‘I’ve got it, I know what you’re talking about.’ We were speaking the same language,” says DelBello.

“We put in a nice bit of outboard gear, like a Bricasti reverb, some Tube-Tech equipment,” he continues. “Ron asked for some oddball things, like a Lexicon 200, which I’m still looking for.” Saint Germain also recommended Modern Audio Design MAD- Max near field monitors, which he betatested for the company and uses in his home-based studio. “The speakers are quite amazing. They sound really great,” says DelBello. “We also put in a new ear system, the [Hear Technologies] Hear Back Pro. It was my first install for that,” he says. The monitor system can be fed analog from the API desk or digitally from the Pro Tools rig.

Saint Germain took Trevor Campbell, who heads the school’s Audio Production Program, on a tour of studios and mixing consoles, including the Clive Davis school at NYU Tisch, which has an API Vision. “They needed something simple enough that you don’t need a computer to make it work,” he says. “Old school.”

The live room, which can accommodate anything from a small jazz combo to a 60-piece orchestra, can also seat an audience of 250 on three sides of the room and is equipped with three stereo sets of JBL SRX835 three-way monitor speakers. The two original Power Station iso booths are replicated in the control room area rather than the tracking room, but at twice the size, reports Saint Germain.
“At lunchtime, there will be instruments set up, and kids will be invited to come in and jam. At the same time, all the mics will be in place, so those in the recording school will be learning how to record—every day,” says Saint Germain.

“I explained to them that this must be a hands-on situation. That is how you learn to record.”

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ProSound News - Rock 'n' Roll High School



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