Page 7 - SPIRE Apr-Jun 2022 2nd Issue DIGITAL
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SPIRE SPOTLIGHT  of what makes a great show. If we’re lucky, we get a  Any closing comments?
 GARY     for the next few hours. Following the show, equipment is  Just a request. If you’ve attended an event at The Spire
          dinner break after sound check and at 8PM, we are LIVE
                                                               and enjoyed the experience, please spread the word
          packed and stored safely away for the next show. There
                                                               among your social and professional circles. We are a
          are several hours of hard work before and after each
                                                               non-profit and rely upon the support of our community. I
          show. The short time frame in between is the pay off for
                                                               am also fortunate enough to sit on the Spire’s Board of
          us…presenting a great artist to great audiences. I would
 SJOLIN,  be remiss not to send a shout out to our fine technical  Directors and can say they are a truly passionate group
                                                               of professionals dedicated to the improvement and long
          staff. I love working with them and we couldn’t do what
                                                               term sustainability of this gem of a venue. In addition,
          we do without them. They are:
                                                               they have always been very supportive of me in my
                                                               efforts to bring the best audio and visual experience we
          Woody Bavota - Lighting
          Ed McGee - Audio
          Brandon Martin - Audio/backline tech                 can to our patrons. For that I am grateful.
 THE SPIRE'S  Dot McDonough - Audio, Lighting, Video, basically
 PRODUCTION  This team is talented and most importantly, passionate
          about what they do.
 MANAGER/AUDIO  From left to right; Kevin Shanley, Gary Sjolin, Sal Baglio (of The Stompers),
          Woody Bavota, and Dot McDonough. Gary working FOH; Bottom photo:
          setting the Spire's stage.

 Gary serves as the Spire’s Production
 Manager and lead audio engineer. He
 is a graduate of the Berklee College
 of Music and brings over 35 years of
 professional performance and
 production experience to his role at
 The Spire. Gary oversaw and
 collaborated on the design and   hundreds of labor hours and much  not work well unless your programs
 installation of The Spire’s sound  “tweaking” (highly technical term)  are primarily classical. The Spire was
 system and acoustical treatment. We  was done in order to get where we  no different.  I brought in David
 spent a few minutes with Gary  are today. For the sound system we  Coate, a fine acoustician located here
 learning about The Spire’s  made sure to install a system capable  on the South Shore, to conduct tests
 transformation into a performance  of very high fidelity and intelligibility,  and design a solution that would
 space and what a show day typically  while providing even coverage in  work for us. You can spend all the
 looks like.  every seat in the house. We’re quite  money in the world on a sound
 happy with how it sounds these days  system and if you install it in a poor
 What were some of the challenges  and I have Rik Washburn of  sounding space it is like throwing
 faced when The Spire was being  Middlehouse Systems in Carver, as  money into the wind. David’s
 transformed into the space it is  well as John Farrell, a lead engineer  solution, along with some more
 today?  at MHS, to thank as they were critical  recent additions, have our venue
 Well the challenges were many  to the install and ongoing  sounding quite nice; at least that’s
 including much beyond the scope of  maintenance. We all worked together  what our artists and patrons tell us.
 my responsibilities, but speaking  closely to accomplish our goals.
 solely from a production standpoint,  Since our building was originally a  Tell us about a typical show day.
 it started with constructing a large  church built in 1886, the acoustics  For the technical crew show day
 stage which is necessary to produce  were not a good fit for today’s shows.  starts several hours before the artists
 the variety of shows we present. A  Old churches usually have a fair  arrive. The stage is meticulously pre-
 truss and various hang points were  amount of reverberation since they  wired, microphones are set and
 installed to support our lighting and  were built prior to amplification and  tuned, and audio and lighting
 speaker systems. Much time and  designed for speech, choirs, pipe  consoles are pre-programmed so
 effort is involved in determining what  organs and other acoustic  when the artists arrive we are ready
 equipment was best for our venue  performances.  However, for today’s  for them and everything works. From
 and the types of shows we present.  performance venues, overly  that point on all of our actions are
 As to the installation,  reverberant environments do   focused on the artist and their vision
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