Jay and Susie Gogue Performing Arts Center Director of Marketing
Gogue Performing Arts Heart includes a theater and an outdoor amphitheater.
The Jay and Susie Gogue Performing Arts Center at Auburn Academy is e Alabama'southward premier performing-arts venue, presenting touring Broadway productions, opera, dance, chamber arts, pop musical performances, and student and faculty music and theatrical performances. Constructed last year, the Gogue Center is home to both the 1,202-seat Woltosz Theatre and a 3,500-person-capacity amphitheater at the City of Auburn Backyard and Porch. Some 17,000 square feet of open up space suits outdoor performances, community festivals and other events.
Christopher Heacox, Executive Director, was the prime mover who came on board and fabricated the conclusion to build outstanding audio systems in the Gogue Center. The building architect was Wilson Butler Architects (Boston MA). Rabren General Contractors (Auburn AL) was the general contractor. Theatre Projects (Norwalk CT) was the theatrical consultant.
The world-famous Bösendorfer 280VC Vienna Concert chiliad pianoforte is a key, permanent feature of the Gogue Center's musical-musical instrument drove, residing in the Woltosz Theatre. It is used regularly for public performances, and the music it makes is for the enjoyment of the unabridged customs.
The synergism of the AV professionals and Auburn produced stellar audio systems. Our commodity centers on the brilliantly designed audio aspects of the Woltosz Theatre. Our interviewees include Brendan Dillon, Senior Engineer, Rauland SoundCom Systems (Cleveland OH); on the consultant side, Hashemite kingdom of jordan Lytle, Systems Designer, and Russ Todd, Principal-In-Charge and Lead Acoustical Designer, Akustiks, LLC (Norwalk CT), who handled venue acoustics; and on the customer side, two cardinal Auburn representatives: Taylor Dyleski, Director of Production, and Chris Shush, Audio Production Director.
Client Perspectives
Burke noted that, in total, the Gogue Center itself was $70 one thousand thousand for the entire project; however, the complete sound systems cost $2 one thousand thousand. "A lot of thought went into making this main room sound really good," he noted. "That includes the speaker systems and the audio-visual design. [For case,] the audio-visual banners, which are brought in to deaden the space [or to] open information technology up for a more than classical event or an opera that needs that room reverberation."
Burke noted that the Wenger/JR Clancy Transform motorized acoustical banners made it "very flexible on how we can alter the sound on the d&b Yi speaker array. The great guys at d&b in Nashville made the array sound better than I ever thought it could. Their array-processing DSP really shapes the array to the room. It's very good at providing [a consistent] experience for the person sitting in the back row [or the person in] the front row."
The Gogue Center's outdoor amphitheater has a NEXO GEO M12 line array. Auburn was one of the first customers in the state to purchase and install the new speaker systems. The array has user-configurable directivity with eighty-degree and 120-degree dispersion. "We fly it every time we use it," Burke affirmed. "In that location are nine cabinets per left/right side. They're fairly light and made of a water-repellent blended material—not wood—for utilise exterior."
Auburn purchased and installed two consoles: the Yamaha CL5 for front of house (FOH) and a Yamaha QL5 for monitors. "Nosotros do double duty with those," Burke explained. "When we need something bigger exterior in the amphitheater, nosotros take the CL5; for something smaller outside, we accept the QL5. And some people bring their own consoles."
Auburn also supplied a large complement of wired and wireless microphones for theater use. Those include Sennheiser, Shure, Electro-Voice, Sound-Technica, DPA and Countryman models.
Congenital For Incredible Sound
"Auburn was a large university that didn't accept a performing-arts center," Taylor Dyleski, Director of Production, remarked. "It was something that Auburn was missing. The Gogue Center was congenital every bit an auxiliary to the university'south theater and music departments. We're bringing in outside performing acts, [simply] there volition also exist student-produced theater and music events. We practise a lot of primary classes for the students."
He connected, "We set up a priority at the beginning of the project that nosotros wanted incredible sound. There are no fans in the light fixtures in the theater. There's no auxiliary hum. There'south no sound of ac running."
According to Dyleski, "We wanted products that were flexible, like shooting fish in a barrel to install and easy to move around our stage. Pliant Technologies is based in Auburn, right down the route. They were able to provide excellent customer service. They had their team onsite [working with us]." Pliant'south primal contribution to the projection came in the form of the company's CrewCom wireless intercom system.
Dyleski connected, "The engineering has flipped, so you don't [have to] rely on being almost a base station to work. What'south cool nearly the CrewCom technology is how the radio packs' signal bounces from antenna to antenna. You tin can be talking in multiple packs when you lot're in the building."
There are six CrewCom radio packs using SmartBoom LITE single-ear Pliant headsets. The CrewCom deployment for the Gogue Center consists of a command unit, located in an AV room just outside the theater, connected to two radio transceivers. 1 is located in a dressing room, providing coverage for the entire backstage area. The other is located in the catwalk, above the seating surface area, roofing both the FOH expanse and the theater.
"Finding a solid intercom solution to deploy in a theater setting—what with its thick physical walls—tin can be very challenging," Dyleski admitted. "Virtually theaters struggle with horrible static and echoes with their intercom systems, only, with Pliant, those issues are nonexistent. The sound quality is crystal clear and the organization simply works." Dyleski added that he appreciates the ease with which the CrewCom technology seamlessly integrates with the Gogue Eye's Clear-Com wiredintercom system.
Woltosz Theatre Audio Systems
Brendan Dillon, Senior Engineer, Rauland SoundCom Systems, discussed the d&bcentric speech-reinforcement and line-array systems in the Woltosz Theatre. The integrator teamed upwardly with Hashemite kingdom of jordan Lytle, Systems Designer from Akustiks, on the project. "It actually moved mode beyond the contractor/ designer mentality," Dillon explained. "Equally a team effort, it makes the project motion smoother. I think the client gets an added effect out of the synergy between the ii organizations. We've been fortunate to work with Akustiks on a lot of other projects over the years." He added, "The room has a wonderful sound."
The speech-reinforcement organization was crafted to suit voice announcements and lecture events. "We installed the d&b 24C vertical (cavalcade) box cut back into the proscenium wall, [which provides] a overnice down-load," Dillon explained. "Four 24Cs were stacked left and right—ii on each side of the wall."
To broaden the column speakers, ii 4S boxes were installed on surface mounts. They offer fill up for the gallery or upper expanse. There are also two sets of subwoofers: for the main boxes, left/correct E12X subs were flown; meanwhile, ground-stacked portable subs can exist brought onstage or placed offstage, as necessary. Half-dozen E5 portable boxes tin be placed for front fill. In addition, six 8S delay speakers help fill in the gallery or balcony. Nine JBL Command 47LP ceiling speakers fill in the nether-balcony. "They really filled in naturally," Dillon affirmed. "You couldn't even tell the JBLs were on."
V d&b 10D amplifiers, offer built-in processing, limiting and control, drive all the speakers. "We were able to build the speaker system using d&b software run over the command network in the facility," Dillon explained. "We used Smaart to align the system. From a tuning perspective, you know y'all're going to get the same quality out of each box."
In addition, at that place are four d&b MAX2s available for phase monitors. Four husky d&b 30D 1,600W amplifiers produce plenty of headroom. "Information technology's for the artists who might need more amplifier power onstage," Dillon clarified. "Space [is at] a premium, so we put equipment in touring cases [and] then coil things around in different areas." Whirlwind provided the speaker cabling.
A Q-SYS Core 510i integrated core processor, from QSC, routes audio throughout the facility. Components include four AES-iii cards, 2 four-channel mic/line inputs and one Q-SYS Dante bridge card. Touchscreen access allows the Yamaha console operator to route audio hands. For case, split audio tin exist fed to the lobby and the dressing rooms, every bit well as elsewhere within the Gogue Eye.
Backstage & Vestibule
Considering, as has often been said, there'due south more drama backstage than under the phase lights, various QSC speakers provide vital data and cues for staff members and artists who are preparing for their entrances. "Fifty-four 4.5-inch ACC4Ts were installed in the dressing rooms, [in which] you don't need a lot of depression end," Dillon stated. "You merely want to make sure you lot've got more than intelligibility to tell the creative person what's [happening] onstage."
There are also three larger-cone, half dozen.5-inch Air conditioning-C6Ts with added depression stop. Elsewhere in the facility, there are combinations of Air conditioning-C4Ts and AC-C6Ts based on which best arrange those other backstage and entrance hall areas. In addition, operator relay-admission AtlasIED speakers are used in back-ofhouse. Finally, a QSC CXD8.8Q networked amplifier serves up to 8 zones throughout the backstage and lobby areas.
According to Dillon, the Cadre 110f Q-SYS unified core from QSC is "another very versatile piece with its eight-in/viii-out capability." He added, "We're doing boosted media sources. They could put canned, prerecorded messages in there—'10 minutes to the event….' or 'Five minutes to the effect….' [Those] can be created with a unproblematic push button push." 7-inch and 4.7- inch touchscreens provide control of all the presets. A Shure SM58 handheld wireless is used for paging—a standard in most facilities like this one. A Shure VP89M shotgun condenser mic was too spec'd.
Stage Managing director Rack
The stage director rack, located offstage left, has multiple locations where the operator can plug in. An I/O-8 Flex Q-SYS channel expander tin can expand upwardly to 8 channels to interface with the Denon Professional DN-312X rackmounted, 12-aqueduct mixer in the rack. The stage manager can brand announcements with an Audio-Technica cardioid condenser mic and play CDs. He can also plug into the intercoms and integrate the wired Clear-Com with the wireless Pliant CrewCom intercoms, all facilitated by a Q-SYS-networked touchscreen. Assistive-listening devices are all from Heed Technologies. The extensive Articulate-Com hard-wired intercom organisation is equanimous of various beltpacks and headsets connected with Whirlwind cablevision. Iv Middle Atlantic equipment racks are located offstage, to the back.
Theater-Filling Sound
To this point, we've focused on the main house spoken language-reinforcement system. Side by side, we'll detail the d&b-centric line-array organization that'due south designed to fill the unabridged theater and provide the sound-pressure levels (SPLs) necessary for musicals and concert events. "The line arrays actually give y'all that dial and clarity to get to the upper balustrade and the gallery," Dillon enthused.
The left/right line array deployment is unremarkably left in place, unless a touring company wants to fly its own speaker system. In that case, the Gogue Eye can adjust the requested change. "The designer did an first-class job of providing the rigging points up in the high steel," Dillon remarked. "This particular project had a left/right design, but the designer had the [prescience] to look ahead and put pinpoints in the eye. So, if a group comes in and wants to practise a center hang, they can do that." He hastened to add, "Merely I feel that the majority of those coming in to utilise that infinite, once they hear the d&b array, will recollect it's wonderful just the way it is."
The flown vertical line assortment consists of the following: d&b'southward Yi8 is an 80-caste-dispersion box of which at that place are four left/right pairings. Next are 4 left/right pairings of d&b's Yi12 120-degree-dispersion cabinets. d&b's Yi subwoofer is also deployed, with two on each side of the array. Completing the array is i d&b Y7P two-mode passive betoken source per side. If boosted bass gusto is called for, subs can exist ground-stacked. A powerful d&b 30D amplifier offers the necessary headroom.
Dillon'south installation team included Project Manager Steve Parrott, Team Leader/Lead Technician Mike Richley, CAD Designer Mike Novick, Product Engineer Bryan Weitzel and Dillon as Senior Engineer.
Design Evolution
"In the start, we really didn't know what the direction [would exist] every bit far as what kind of plan the Gogue Center was going to do, considering they didn't accept this section or building before," Akustiks' Jordan Lytle began. "So, they hired Executive Director Christopher Heacox. That was a fleck of a challenge, because they hired him right in the middle of the design, [only] I think he helped push the university to make a lot of decisions."
Another conundrum was whether to rent or purchase the necessary equipment. At that place was discussion to rent a lot of the organisation components on a per-need basis. Information technology envisioned a very simple, basic system for lectures and other speech-related use. "One time Chris came onboard," Lytle explained, "he emphasized the need for a permanent system because of the annual programming and usage of the theater." He continued, "Nosotros pushed for and got the main d&b arrays. We've been very happy with d&b's production line as a whole, [as well as] the uniformity between the dissimilar product lines. We know we tin can put a Y assortment series in there with different fill speakers and they'll all piece of work together."
Regarding digital signal processing (DSP), Lytle noted the room is well controlled for live and orchestral music. "We used a couple of the Q-SYS Core 510is for the front-terminate matrix processing of the d&b system," he explained. "We've been using the Q-SYS quite a bit lately, because it's very flexible." Lytle connected, "And and so we accept AES and Dante inputs in the system. Depending on what route bear witness comes through, they can patch their own console into the organisation."
Co-ordinate to Lytle, the 1,202-seat theater "…creates an intimate feeling. I call up the architect and the theater consultant did a great task. It'south [outstanding] for performers and the audition. [It's] a great seat, no matter where yous're sitting." He added, "The 90-foot-wide phase is a pretty big infinite. You can bring in the walls to compress the size of the stage for smaller performances. The proscenium height is adequate from its 35-pes top."
Audio-visual Treatment & Tuning
"The room is a true multi-dimensional theater in that it tin can present everything from orchestral performances, to Broadway productions, to dance," Akustiks' Russ Todd alleged. He helped oversee the acoustic handling and tuning for the Woltosz Theatre. "And," he added, "it has a fully adaptable room audio-visual adequacy to do all that."
With conscientious acoustical pattern, reverberation and sound assimilation tin be controlled to deliver maximum audio quality. For example, the architectural boundaries of the room are sonically widened via wooden slats on the sidewalls. "Nosotros actually 'abound' the acoustic volume across the architectural boundaries of the room," Todd said with evident enthusiasm.
According to Todd, the Gogue Middle's gala opening is a perfect example to cite. An opera singer, Renée Fleming, was beingness accompanied by the Gogue Center's Bösendorfer 280VC Vienna Concert 1000 pianoforte. The acoustics created added resonance and support for the music. Past dissimilarity, for other applications, where reverberation would be distracting, the room sound can be absorptive via the employ of motorized acoustical banners.
"The room was tuned with the Alabama Symphony," Todd revealed. "They came downward and we did several tuning rehearsals with them." In addition to the acoustical techniques already detailed, in that location's a custom Diva acoustical orchestra shell on the stage. "We adjusted the position, angles and setting of the trounce," he added.
Notably, the shell is equipped with a Lieto LED light fixture, from Wenger, to ensure no unnecessary racket is generated. According to Todd, "When nosotros nowadays an orchestra, opera or other highly disquisitional, full-dynamic-range acoustical operation, we need to create a really quiet place."
The tuning conductor was Chris Blair, Todd's partner at Akustiks. The tuning procedure allows the maestro to come down off the podium and actually listen to the sound in the theater. The process, typically occurring during a project's commissioning phase, traditionally involves adjusting movable acoustic elements, including reflector panels and assimilation curtains, to optimize sound quality both for audience members and for performers. Sometimes, information technology can be a trial-and-error process. About of the peak-level performing-arts acousticians, like those from Akustiks, perform this service.
"Highly amplified performances require acoustics that are much more controlled," Todd explained. That was the instance for Béla Fleck and the Flecktones, who recently graced the phase. "In this instance," he continued, "one of the acoustical devices employed are bass traps to create low-frequency absorption, preventing the room from sounding likewise boomy."
Detailing further, Todd observed, "A lot of effort went into building the room in a mode that we keep audio out. There'southward a second stage—an outdoor amphitheater—in add-on to the main Woltosz Theatre inside the Gogue Heart. Those two spaces are completely isolated from each other physically with an acoustical isolation joint, and sonically with grout-filled masonry."
Todd noted that Akustiks toured other high-end performance facilities to make informed pattern decisions for the Gogue Center. Other venues toured included the Tobin Center (San Antonio TX), the opera house in Dallas TX and the Charleston Gaillard Centre (Charleston SC).
The Gogue Centre is a sterling case of what happens when a motivated customer hires the right professionals—the height people in their respective fields—and those professionals develop a strong, collaborative relationship. And, when the COVID-nineteen pandemic ends and people are set to assemble once once more to take in live entertainment and performances, the Gogue Middle will remain one of the southeast's premier choices.
Poignancy & Purpose
At the time of this writing in early May, the AV world and the globe at big await the finish of the novel coronavirus (COVID-19) pandemic. Similarly, the magnificent Gogue Performing Arts Center at Auburn University awaits the opportunity to serve the community at big over again.
What follows are reflections on the times, as well as how to cope with them, offered by Russ Todd, Principal-In-Accuse and Lead Acoustical Designer, Akustiks, LLC. He shared these insights while I was setting up my phone interview with him.
"It's more poignant now because it'southward been taken away," he said. "The [venue] opened about a year ago to a large reception. The customs just loved being a part of all that. Then, this happened…. It's a great reminder of how of import the arts are for our social club, [besides as] how important information technology is to exercise things together."
"Art is an important mode to bring people together. We miss information technology now that we're all…at home," he continued. "Merely I experience that family and being at habitation is important. I read a volume a while dorsum called "Voluntary Simplicity," by Duane Elgin, that talks well-nigh the fact that we take a short time window here. That reminds united states of america non to waste time on things that aren't important…to actually value the moment that you accept. Then, whether it'south petting your dog or taking that hike, you take a greater sense of how truly special that is."
The time volition come up once over again when we tin join in a shared performance experience. Until and so, though, information technology's a fourth dimension for reflection—and staying six anxiety autonomously.
EQUIPMENT
ASSISTIVE LISTENING
2 Listen Technologies LA-122 universal antenna kits
4 Listen Technologies LP-41-072-01 intelligent DSP 72MHz RF receiver bundles
1 Listen Technologies LT-800-072-01 stationary RF transmitter
BACKSTAGE & LOBBY PAGING, PROCESSING
1 Joemeek threeQ aqueduct strip
1 QSC Cadre 110f Q-SYS unified core
1 QSC I/O-8 Flex Q-SYS channel expander
1 QSC MD-110 media drive
i QSC TSC-47W-G2 four.7″ small-scale-format touchscreen controller
1 QSC TSC-7w wall touchscreen controller
2 Shure QLXD2/SM58 handheld transmitters w/SM58 capsules
2 Shure QLXD4 digital wireless receivers
4 Shure SB900A rechargeable lithium-ion batteries
i Shure SBC200 dual-docking recharging station
1 Shure VP89M modular shotgun mic
BACKSTAGE & Lobby SPEAKERS
2 AtlasIED AT100 100W, single-gang, stainless-steel, 70.7V commercial attenuators
two AtlasIED AT35 35W, single-gang, stainless-steel, seventy.7V commercial attenuators
14 AtlasIED AT35-PA deluxe-priority, plate-mounted 35W attenuators w/priority relays, 3dB steps
66 QSC AC-C4T 4.5″, full-range, 140° conical ceiling speakers
43 QSC AC-C6T 6.5″, 2-style, 110° conical ceiling speakers
viii QSC AC-C8T 8″, 2-style, 100° conical ceiling speakers
3 QSC Ac-S6T 6.5″, 2-way, 130° conical surface-mount speakers
one QSC CXD8.8Q networked amp westward/analog inputs and network connectivity
CONSOLES
ane Yamaha CL5 digital mixing console
1 Yamaha QL5 digital mixing console
3 Yamaha Rio3224-D2 32×24 Dante stage boxes
EQUIPMENT RACK
one Farthermost Networks X440-G2-24P-10GE4 Ethernet switch
2 Extreme Networks X440-G2-48P-10GE4 Ethernet switches
iv Middle Atlantic BGR-4538 BGR Series racks (45RU, 38″D)
4 Middle Atlantic BGR-552FT-FC fan tops (552 CFM, westward/controller)
4 Middle Atlantic BGR-ISO-Z4 seismic brackets, isolating
two Heart Atlantic BSPN-45-38 side panels (45RU, 38″D)
ii Eye Atlantic D3LK drawers (3RU, anodized, w/locks)
ii Center Atlantic D4LK drawers (4RU, anodized, w/locks)
3 Centre Atlantic SS sliding rackshelves (1RU)
three Middle Atlantic UPS-2200R-IP Premium Series UPS rackmount power (viii outlet, 2150VA/1650W, web-enabled)
4 Center Atlantic VFD-45A vented front doors (45RU racks, curved)
INSTALLED SPEAKER Arrangement
five d&b audiotechnik 10D amps
four d&b audiotechnik 24C cavalcade speakers
ii d&b audiotechnik 4S speakers
half dozen d&b audiotechnik 8S speakers
two d&b audiotechnik E12X subs
6 d&b audiotechnik E5 speakers
9 JBL Control 47LP depression-profile ceiling speakers
PORTABLE SPEAKER SYSTEM
two d&b audiotechnik 15m speaker cables
5 d&b audiotechnik 30D amps
4 d&b audiotechnik MAX2 monitors
4 d&b audiotechnik MC12SD cables LKS19 F/M
2 d&b audiotechnik touring carts
5 d&b audiotechnik touring cases
iv d&b audiotechnik Y flight frames
2 d&b audiotechnik Y7P speakers
6 d&b audiotechnik Yi subs
8 d&b audiotechnik Yi12 speakers
8 d&b audiotechnik Yi8 speakers
2 d&b audiotechnik YP swivel brackets
1 Whirlwind SK525G12 Speakon to Speakon speaker cable (12-gauge, 25′)
4 Cyclone SK550G12 Speakon to Speakon speaker cable (12-judge, fifty′)
PRODUCTION INTERCOM
12 Clear-Com CC-300-X4 unmarried-ear headsets due west/4-pin XLR-F connectors
viii Clear-Com CC-400-X4 double-ear headsets w/4-pin XLR-F connectors
ii Clear-Com PS-704 4-channel intercom power supplies
ii Clear-Com RM-704 4-channel remote intercom stations
12 Articulate-Com RS-701 unmarried-aqueduct beltpacks w/XLR-3 connectors
4 Clear-Com RS-702 two-channel analog intercom beltpacks
1 Pro Intercom Type 180 signal light
1 Pro Intercom HH10A intercom handset due west/push-to-talk switch
ane SKB 1SKB-R2U 2RU roto-molded rack case
4 Whirlwind MK4PP50 stereo mic cables dual XLRF to dual XLRM (50′)
20 Whirlwind MKQ30 quad cables (30′)
8 Cyclone MKQ75-Blueish quad low-Z mic cables (75′)
SPEAKER MATRIX
4 QSC CAES4 AES-3 digital input/output cards
1 QSC CDN64 Dante sound bridge card
2 QSC CIML4 mic/line analog input cards
1 QSC Core 510i Q-SYS integrated core processor
ane QSC TSC-7t tabletop touchscreen controller
Stage Manager RACK
1 Audio-Technica U855QL cardioid dynamic gooseneck mic
one Clear-Com RM-704 four-aqueduct remote intercom station
1 Denon Professional DN-312X 12-channel line mixer
ane Denon DN-500CB CD/media actor westward/Bluetooth/USB/aux inputs and RS232C
ane QSC I/O-8 Flex Q-SYS channel expander
1 QSC TSC-47W-G2 4.7″ pocket-sized-format touchscreen controller
1 SKB 1SKB-R6U roto-molded rack example
WIRED & WIRELESS MICS
1 Audio-Technica AT8647QM/South mic daze-mountain plate
1 Audio-Technica U857QL cardioid condenser quick-mount gooseneck mic
viii Countryman B3 omnidirectional lavalier mics
8 Countryman H6 omnidirectional headsets
1 DPA 4099 CORE instrument mic stereo pair
i Electro-Voice RE320 cardioid dynamic circulate mic
2 Radial ProAV2 stereo multimedia direct boxes
half dozen Radial ProDI passive direct boxes
ii Sennheiser e 609 Argent supercardioid dynamic guitar mics
two Sennheiser due east 835 cardioid dynamic vocal mics
2 Sennheiser e 945 supercardioid dynamic song mics
iii Shure BETA 52A kick drum mics
1 Shure BETA 91A boot drum mic
1 Shure KSM137/SL Stereo cardioid instrument mic
iv Shure MX202B/C Microflex condenser overhead mics
4 Shure SM57-LC cardioid dynamic mics
4 Shure SM58-LC cardioid dynamic vocal mics
2 Shure SM81 condenser instrument mics
12 Shure ULXD2/KSM9 digital handheld transmitters west/KSM9 capsules
12 Shure ULXD1 digital bodypack transmitters
3 Yamaha digital wireless receivers
WIRELESS INTERCOM
one Pliant Technologies CCU-44 CrewCom 4plus4 control unit of measurement
1 Pliant Technologies CHB-8C-02 CrewCom 8-port copper hub
six Pliant Technologies CRP-44-900 CrewCom 900MHz 4-vol/4-conf radio packs
iii Pliant Technologies CRT-900 CrewCom 900MHz radio transceivers
ane Pliant Technologies PAC-RMK-S single 1RU one-half-rack mountain kit
half-dozen Pliant Technologies PHS-SB11L-4F SmartBoom Low-cal single-ear Pliant headsets w/4-pin XLR female connectors
List is edited from data supplied past various project participants.
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Source: https://www.soundandcommunications.com/auburn-creates-a-performing-arts-complex/
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