Arsht Knight Concert Hall: rigging, audio patch and show setup

Compare the complete package with the loading route

The dock is on NE 13th Street between Biscayne Boulevard and North Bayshore Drive. It has three bays and accommodates two 53 ft trailers; cabs do not fit inside the gate. Confirm maneuvering, waiting and vehicle sequence before dispatch. Published backstage clearance on the stage route is 6 ft 9 in: measure every item with base, wheels and packaging in its accepted transport orientation.

The Stage Door is at North Bayshore Drive and NE 13th Street. The dossier requires Security check-in, identification and authorization to work in or visit the hall. Separate personnel credentials from freight access; if a case cannot fit the confirmed route, revise packaging or equipment before shipping rather than improvising another entrance.

Close stage, FOH and seating plans before ticket sales

The technical table lists a stage width of 79 ft and depth of 44 ft 6 in; the elliptical piano lift measures 18 ft × 9 ft, and the large pit configuration is 63 ft 10 in × 27 ft. Request a plan with accepted levels and positions: these dimensions do not describe a free rectangular area or authorize lift movement or applied loads.

FOH is 9 ft deep × 8 ft wide, expandable to 16 ft wide, at 66 ft 7 in from the plaster line. Expansion requires advance written notice for seat removal and ticket-sales adjustment. Submit consoles, racks, cameras and circulation within that footprint; do not expand it during load-in.

The dossier states 2,166 seats but its table ends at 2,167; other official pages publish 2,100 and 2,200. Do not select a ticketing figure: request event capacity and seating plan including FOH, pit, chorus and blocked positions. Platform and riser changes require advance coordination, time and budget.

Review rigging without treating the canopy as an open grid

The acoustic canopy has three moving sections and very limited additional rigging. The dossier requires advance discussion and weight calculations before hanging any element; it publishes no free load per point. Submit complete LED, truss, motor and accessory weight, distribution, position, height and method for review. If suspension is not accepted, review a supported alternative with floor reactions, ballast and protection.

The venue has an IATSE Local 500 agreement. House equipment, including consoles, personnel lifts, stage lifts and canopy, is operated by an Arsht Department Head or a stagehand designated by the venue Steward. Set installation, connection, operation, inspection and removal roles; that operating rule alone does not define every hiring scope. Personnel lifts are shared among stages and must be coordinated before load-in.

Assign power by location and use

Use Show Power Distribution to submit demand, not to add amperages as free power. Confirm voltage, phases, protection, connectors, route and who connects, checks and removes distribution. The 5-wire disconnect label does not authorize an adapter or self-performed connection. Keep feeds identified for sound separate and request LED, lighting and video allocation.

Projection receptacles do not confirm a projector, lens, screen, format or signal path. Request those details and the assigned manual before preparing throw distances or connections; do not assign another campus room’s inventory to KCH.

Separate local inputs from shared signals

Prepare a list of source, physical connector, FOH channel, monitor channel, destination and patch responsibility. The dossier describes paths that are not equivalent between consoles. With the operator, check signal at the input and then at the agreed destination: hearing a source in the house does not establish its arrival on stage.

For a signal that must be shared, check its split assignment before raising monitor level. For local click or talkback, check the stage destination and that it has not been added to the house program. Record the previous patch and restore it if a change reaches another destination. Do not change network, gains or show files without the operator and assigned-system manual.

Program cues without changing the lighting hang

The approximately 93 automated fixtures must be used as hung. The dossier lists Grand MA3 Light with 4096 parameters and Grand MA3 RPU with NPU backup; confirm equipment, version and effective capacity before transferring a show. This list certifies neither file compatibility nor control reconfiguration.

House Lights, Work Lights and non-dims use the separate Paradigm system, with controls at Stage Left, Stage Right and the FOH booth. Agree who operates each state and reserve programming time. Do not assume a show cue also controls house lighting.

Submit effects, costs and revisions separately

For open flame, smoke, haze or pyrotechnics, the dossier specifies City of Miami Fire Rescue inspectors and Fire Watch requests to Production as part of the advance, no later than two weeks before the event. Include rehearsal, equipment, fluid and hours to confirm coverage. Do not test an effect before resolving acceptance; these specifications neither authorize lasers nor set Fire Watch rates.

Separate authority permits or inspections, venue technical acceptance, organizer program, contract/insurance and technical checks. The rental page requires liability insurance and excludes event staff, production labor and equipment from base rental. Request a current quote covering staffing, programming, Fire Watch, load-in and strike; no total cost is confirmed for your show.

Submit an identified plan and patch revision if FOH, seating, canopy, rigging, floor, power or effects change. Identify affected acceptances and retain the previous configuration until review is complete. Do not transfer these conditions to CST, Peacock Foundation Studio or another room because they share a campus.