THE PINHOOK TECHNICAL SPECIFICATIONS

Revised 5/18/2025

CONSOLE, LOUDSPEAKERS, AMPLIFIERS:

FOH Console: Allen & Heath SQ6

DSP: Allen & Heath AHM-16 (System tuning EQ. Digital audio path from / to console avoids additional AD/DA pass)

Inputs and returns are routed to / from stage via analog snake: 20 inputs x 12 returns

1x Nexo NXAMP 4×4 Speaker controller / amplifier (crossover @ 80Hz): powers mains and subwoofers

2x Nexo GeoS1230 2-way speaker (1x per side L / R; flown vertically and inverted)

2x Nexo RS15 2×15″ Subwoofer

3x Yamaha DXR12 12″ Active 2-way loudspeaker (floor monitors)

1x Mackie SRM450 Active 2-way loudspeaker (floor monitor)

HOUSE COMPUTER:

3.3GHz 12‑core Intel Xeon W processor, Turbo Boost up to 4.4GHz; 32GB (4x8GB) of DDR4 ECC memory; Radeon Pro 580X with 8GB of GDDR5 memory; 256GB SSD storage:

Provides additional channel processing via DAW send / return; DAW multitrack recording; broadcast stream encoding; software lighting control; audio playback; projection source and control)

MICROPHONES:

Dynamic:

5x Shure SM58

3x Shure SM57

4x Shure Beta 58A

2x Shure Beta 57A

43x Sennheiser e604

1x Shure Beta 52A

1x Audix D6

1x Beyerdynamic M201

Condensers:

2x sE Electronics sE8 (pair of cardiod pencil condensers including stereo bar: with switchable pads also capable of handling very loud sources such as snare drum, bass cabinet — up to 159 dB SPL)

2x Little Blondie(miniature omni condenser: good for underhead “whole kit” mic, gaffed to floor as boundary mic, many other sources)

A good selection of mic stands, z-bars, drum claws, cables, adapters, clips etc.

DIRECT INPUT:

Active:

2x Rupert Neve Designs RNDI (transformer coupled active)

1x Radial Engineering StageBug SB-4 Piezo DI

1x LR Baggs Para Acoustic

Passive:

2x Radial JDI Passive DI

1x Radial AV1

1x Whirlwind Director

1x Livewire SPDI

1x RapcoHorizon dp-1

1x Radial ProD2 Passive 2 channel DI

1x Radial AV2 PC/IPOD/line input 2 Passive 2 channel DI

ACOUSTICS AND SOUND COVERAGE:

The venue has been extensively acoustically treated and tuned:

-Stage is decoupled from floor (cork underlayments)

-Upstage there are four hybrid absorber / diffuser walls, providing tuned absorption in the LF-low-mids and absorption and diffusion in the high-mids-HF.

-HF are addressed by 120+ yards of softgoods (Encore 22 oz IFR synthetic, 100% fullness) spread between upstage and as runners along venue side walls to damp early reflections.

Impulse time is short and even across the audio spectrum, and modal activity is well behaved. Mains and monitors are tuned to acoustically flat via the AHM DSPparametric layer,s so that system EQ is separate from the graphic EQ layer used live (i.e. the graph starts flat). Measurement FFT sweeps (REW data) available on request.

Mains coverage is nominal 30 degrees in the horizontal plane and 120 degrees in the vertical plane for each hang, keeping reverberation under control in the “shoebox” layout of the venue. Mains hangs are quite close to typical downstage R and L performers: sometimes using supercardiod vocal mics in these positions (e.g. Beta 57A, Beta58A) can be desirable to reduce mains bleed. Nexo NS1 modelling software data available on request.

TYPICAL RESPONSES (visualized: stage surface, audience listening plane, side walls):

@ 5 kHz (horns):

@ 1 kHz (crossover region):

@ 200 Hz (12″ LF drivers in waveguides):

LIGHTING:

Front Fill:

4x ADJ Encore FR50Z 50W Warm White LED Fresnel

Upstage:

8x Elation ZCL360i (90W Moving beam fixtures w/ RGBW mix, 4-40 degree motorized zoom, so capable of providing wash lighting as well)

Effects:

1x Disco Ball w/ RGBW LED pinspots (C)

House:

2x incandescent string lights on dimmer pack, DMX controlled (house / audience lighting).

Control:

Lighting control is accomplished in software via an ENTTEC ODE Mk2 ethernet to DMX (Art-Net) gateway, using QLC+ on the house computer. Guest Lighting Designers are more than welcome to use the ENTTEC interface, however be advised that audio staff need use of the computer (for access to graphic EQs, signal processing, etc) so another computer / DMX controller / etc is required. Up to date DMX map of house instruments available on request.

PROJECTION:

Christie DHD630-GS: 6,125 lumen, HD, 1DLP Laser Projector w/ motorized zoom and lens shift

Lens: CHRISTIE 140-102104-01 (1.5-2.9)

Screen: 110” 16:9 widescreen ratio, motorized. Mounted on upstage truss.

Interconnect is via HDMI <-> HDBaseT converter boxes, over CAT6 cable. Converters run such that projection can be fed from FOH or stage positions (HDMI inputs). An assortment of adapters are on hand; however we cannot guarantee that your laptop or other device will be able to synch correctly with the projector — in particular the new generation of Apple products with USB-C breakouts sometimes cause problems. Please allow sufficient tech time to setup and troubleshoot.As a preferred alternative, projection from the house computer (files can be transferred via external HD or cloud upload) is always possible.

ELECTRICAL:

Dedicated 100 amp panel for audio. Circuits include 2x 30 amp (dedicated NXAMP), 1x 20 amp (dedicated FOH), 3x 20 amp (dedicated stage and monitors).

Additional service: For high power lighting equipment (LED walls, strobes) an additional 50 ampservice is available: single phase, 50 amp, 125 / 250 Volts (3 pole, 4 wire: 2 hot legs). Service is on a Hubbell “California” style twistlock receptacle, e.g. the Hubbell CS6369. Touring personnel will need to provide an electrician, appropriate distro, and 40 ft minimum of feeder cable with mating Hubbell connector for use of this service. Advance correspondance and approval of the technical director are also required.

MISCELLANEOUS:

All production inventory is subject to change, for example due to equipment in for repair or replacement.

Guest engineers at The Pinhook are expected to be respectful of the space and the equipment, and to comply with the verbal input of the house engineer. House sound engineers reserve the right to replace a touring engineer at any time, as well as to make final decisions regarding bus compression, limiting etc as deemed necessary to protect the equipment.

Bands and guest technical staff are responsible for any and all damages to equipment due to band and/or guest engineer negligence.