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Sennheiser Puts LIPA Boys in the Photograph

Liverpool Institute of Performing Arts (LIPA) recently hosted the inaugural performances of The Boys in the Photograph, a reworked version of The Beautiful Game, Andrew Lloyd Webber and Ben Elton's musical set in Northern Ireland during The Troubles. And an essential element of the production was the host of audio equipment provided by Sennheiser for the event.

For the 30-strong cast 24 Sennheiser MKE 2-ew-GOLD lavalier microphones were paired with SK 500 G2 bodypacks. Twenty-four channels of EM 500 G2 rack mounted receivers with A 2003-UHF passive directional antennas and AB 2 boosters were used in conjunction with three NET-1 systems running Sennheiser's Wireless System Manager software.

"Andrew Lloyd Webber and Ben Elton decided they wanted to change a few elements of the original version of The Beautiful Game and they are taking it in its new revised state to Canada," says Andrew Fugle, third year sound technology student at LIPA and sound designer for The Boys in the Photograph. "One of our acting staff was keen to bring the show to Liverpool as part of the Capital of Culture year, so he contacted the writers asking if they were interested in previewing the new version at LIPA. Andrew Lloyd Webber and Ben Elton thought it was a great idea, and decided to go ahead with it."

Fugle's experience in and away from LIPA meant he had high standards for the production.

"I've done a lot of work outside LIPA," he explains. "I've done bits and pieces in the West End and gone out on tour with Scrooge: The Musical with Shane Ritchie. Rather than just being another student production, I really wanted to get the sound of The Boys in the Photograph up to a professional standard.

"When I first contacted Sennheiser I was after the 5000 or 3000 Series equipment, because that's what I'd seen on the road. When I spoke to Andy Lillywhite at Sennheiser he said, ‘the G2 system can do that', so that's what we went ahead with. The RF was never once a concern or issue for me, and with the brand new MKE 2s we managed to create a pleasingly transparent, natural dialogue sound, which had enough headroom to be lifted for the sung parts and help create the dynamics for the show that we were looking for.

"We also used NET 1s with Sennheiser's Wireless System Manager software to manage the receivers remotely over Ethernet. With a wireless network in place, this allowed our Sound No2 James Haining, to monitor the RF visually from anywhere within the network coverage."

"The whole system was reliable and easy to monitor," confirms Haining, "both at the racks and remotely using the software over a wireless network. I was able to check the transmitters were working from the green room whilst fittings were taking place, so I didn't have to keep running backwards and forwards to the racks! This was the first show where I was able to focus on the talent and make sure they were happy without having to worry about the equipment."

"I also used the Sennheiser SIFM software to work out the channel and frequency allocations," continues Fugle. "It worked well. It delivered the results in practice as well as on screen. Rather than using other third party software or spreadsheets for working out intermodulation patterns, the good thing about the Sennheiser software is that it already has the specifications for the products you want to use. I said that I wanted to use 24 G2 systems, and these are the frequencies available to me. It then came straight out with the frequency allocations that would work best with least intermodulation.

"We are exceedingly grateful to Sennheiser's Andy Lillywhite and Phil Cummings who came up for the day to help install the system. Andy gave us great advice over the phone when I was working out frequency plots and talking about our frequency/channel bookings."

On top of the 24 wireless mics, Eirik Horremsbakk (the No1 Operator), had the pleasure of mixing a ten-piece band featuring three keyboards, flute/piccolo, violin, bass guitar, electric guitar, acoustic guitar, drums and percussion; having the benefit of a selection of Sennheiser and Neumann microphones amongst others.

Fugle wasn't the only member of the team delighted with the final results.

"Andrew Lloyd Webber came in for some of the production meetings and one of the dress rehearsals," he recalls. "Ben Elton was in quite a few rehearsals and stayed around for the opening night. He was delighted with the finished product and joined in with the standing ovation."

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Sennheiser Puts LIPA Boys in the Photograph

2nd May 2008

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