Installations


We have extensive experience in providing all aspects of the design, specification and supply for a wide range of installation needs, encompassing commercial premises, entertainment venues, lecture halls, dance studios, gym's and assembly halls, recording studios and radio broadcast.


Our installation structure is set up around a central project management team which draws upon the practical experience gained in live sound and manufacture, combined with extensive experience in the supply and specification all aspects of an installation requirement. We don't pretend to be all things to all clients, but our experience allows us to specify, cost and deliver what's required on time and on budget.


We are frequently asked to solve complex problems for our clients, be it difficult acoustic environments, high levels of aesthetics with minimal intrusion of equipment, specific furniture design and function, and custom electronic requirements. We have a broad range of design skills and can have almost any item manufactured to specific customer requirements.


Our clients range from the smallest of venues through to national broadcasters, so if we can help you in the design, specification, commissioning or complete project management of your installation, please call or email us.

Australian Broadcasting Corporation

Refurbishment of the ABC Radio Studios, Ultimo


Photo: Richard Haller, Coda Audio Services.


Room 223 doubles as an on-air studio with a large isolated recording booth.

Room 224 Local Radio production booth and interview/recording room. Based around a 12 channel split-surface Klotz
Xenon mounted in a custom designed and manufactured desk and Genelec monitors. Replay, telephone interface and
recording indication systems are remotely controlled by GP interfaces from the console. The system ties in directly to
the ABC's Netia broadcast management system and has ties to P22 for additional isolated recording. All connections
are fully patchable via Bantam patch-bays, while Krone terminations allow for full reconfiguration and expansion.

Coda undertook the refurbishment of over 33 Radio National, ABC-FM, JJJ and Local Radio production and on-air studios at the ABC's Ultimo Centre over a period of 2 years, through three separate contracts, from August 2007 to August 2009.


The requirement entailed the complete design, installation and significant proportion of the supply of digital and analog mixing consoles and other equipment. Coda was responsible for project management and development of the technical specification in conjunction with the ABC.


Room layouts and ergonomics were one of the ABC's prime considerations and the refurbishment frequently posed significant issues with respect to utilization of space, ergonomics and function. To resolve these issues and provide the best possible implementation within the allocated budget, Coda not only developed the technical response, wiring systems and documentation, but also designed and supplied custom furniture and electronics.


The range of functions of these studios encompasses virtually all aspects of broadcast production, including live and telephone interviews, voice and music recording, as well as post production and program editing. The studios also integrate with Netia media asset management systems and the ABCs own centralised monitoring systems.


Glen St Theatre, Belrose

Complete re-fit of the audio and AV systems


Photo: Glen St Theatre

Glen Street Theatre underwent a major refurbishment in 2006/2007, and as part of this, a new front of house L-C-R-SUB and effects system, digital mixing console and backstage monitor/paging system was supplied and installed by Coda Audio. Much of the cable infrastructure was replaced, video projection systems installed in the theatre and plasma/LCD monitors mounted in the boardroom, lobby, dining areas and backstage.


Powerhouse Museum, Sydney


Photo: Powerhouse Museum

Installation of multi-channel surround-sound systems and audio effects/voice over for the sound & light show "Further, faster, higher" in the Powerhouse Museum's Transport gallery. Designed by Ben Hur Performance Management, Principal Ruth Catlin and Creative Director Sandra Eckersley; featuring a soundtrack created by sound designer Paul Charlier.


This was an interesting and multi-faceted project, involving both recording and sourcing appropriate material for the soundscapes as well as retrofitting a multi-channel audio system in a very large and highly visible space. In addition to the main mix, the specification called for discreet placement and directional audio from the exhibits, while requiring high power and high fidelity.


The system is built with Meyer Sound self powered speakers; four UPJ-1P compact VariO loudspeakers and twelve UPM-1P ultra-compact wide coverage loudspeakers are positioned to provide both surround and localized coverage, with two 600-HP compact high-power sub-woofers for the low frequency content.


The speakers were chosen firstly because of our familiarity with them in the production environment, satisfying the needs of high fidelity and high power, and secondly as the very long runs would have been quite problematic for conventional passive designs. Many of the speakers are also in relatively inaccessible positions as well, so reliability and low maintenance were also factors.


Michael Wilke, who designed and oversaw Coda's implementation, commented that "The museum directors are delighted with the finished project, and believe the show has 'changed the fabric of the museum'. Like most members of the public, they are blown away by the quality and the realism we have achieved."

Sydney Dance Company Studios

Specification and installation of four remotely monitored, fully configurable studio systems


Photo: Fiona Morris

Instructor Ramon Doringo instructs a Lyrical Jazz Class. The variety of dance
styles and musical accompaniment requires a flexible audio system and good
containment.

Pier 4/5 at Walsh bay, which is home to the Sydney Dance Company as well as many other well known Australian cultural and performance orientated organizations, was redeveloped as a cultural centre in the mid 1980's. The Sydney Dance Company operates a large portion of the wharf as dance studios, offering classes for all types of dance from beginner to advanced. The space is also one of the main rehearsal areas for the Company.


In May 1999, the Walsh Bay (Special Provisions) Act was passed, which laid out a plan of redevelopment for the 17 hectare site around the wharves for residential, retail, commercial and cultural purposes. In light of the new developments within the area and in particular the proximity of new residences, the Company needed to revise the noise levels emitted by the Studios.


After examining acousticians' reports on the placement, utilization and regulations governing the levels allowable within the studios and at the boundaries of adjacent residential and commercial units, Coda examined and measured the four studios and reviewed acoustic models. The rooms already included sound absorbing resonators in walls between rooms, but also had leakage problems on the ceilings and west facing walls. After testing and measuring in-situ with a temporary system, it was decided that four-speaker systems comprising main front and rear fill speakers orientated to project away from leakage areas would be the best solution.


Photo: Fiona Morris

Ballet classes require low level musical accompaniment, frequently acoustic.
The reduction of spill from other classes is critical.

This orientation took advantage of the solid walls and resonators by having the immediate reflecting surface closest to the source of highest sound pressure level. Longer throw loudspeakers with narrower coverage pattern were used to limit the amount of direct acoustic energy being aimed at outside walls and windows. This placement also reduced spill to the internal offices and other facilities.


The speakers were placed lower on the walls than would generally be optimum in order to reduce the level of transmission through the ceiling. This created a significant variation in sound levels from one end of the room to the other. Additional speakers were placed at the opposite ends of the three larger studios fills these areas, giving a considerably improved listening experience and allowing the overall sound levels to be slightly lowered.


The legislation governing sound levels dictates not only maximum levels within a space over time (mainly for OH&S), but also the sound above ambient level for both day and night at nearby boundaries. Our task then was to implement the best possible system for the needs of the classes within this framework, and yet allow the system to be dynamically controlled and flexible enough to allow the centre rooms to be combined into one system for functions and rehearsals.


The Media Matrix control panel provides a graphical control of all custom configurations.

Small squares are speakers and the larger squares are the playback racks.
Each of the four configurations also has a night mode with reduced level and reduced bass content.

Each studio has its own playback system mixed to a stereo pair which is routed to a central location and processed by a Peavey Media Matrix system processor. Sound levels are monitored by centrally mounted microphones in each studio, and this level is used to reduce gain in each studio so that levels remain with the guidelines. Different settings are stored for day and night operation, controlled by either a push button plate or by a PC based GUI allowing effective management of sound levels and room configurations.


Once installed, these systems were firstly tested and measured by Coda, then two separate independent acoustic consultancies were brought in to verify the results, both within the studios and at the boundaries of nearby properties. The system was then approved by the Sydney Dance Company and the NSW Department of Commerce (now DSTA).