Page 19 - Entertainmnet Technology 246 - August 2013

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Issue: 246
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arrays of nine elements each, along with
three DSX subs ground stacked left and
right of the stage. This is designed to
cover the entire auditorium including the
balcony and the middle sub on each side
is reversed to produce a cardioid pattern.
The subs are set unconventionally just
outside the left and right array – stacked
on the middle track level a few metres
above the ground – and are sunk into
the proscenium wall, via a specially-
designed setup.
A pair of Martin Audio W8VDQ hybrid
boxes provide outfill coverage extension
of the centre array, while production
rigged a so-called ‘crossfire’ system,
so that those sitting at the sides of the
auditorium would also receive a stereo
orchestra image.
Georg Hentschel explained: “Starlight
has a large cast equipped with
omnidirectional lavalier mics who
constantly move around the set on three
levels behind the speakers and also in
front of the PA, often directly facing the
arrays. During one particular scene, six
highly amplified singers are elevated
directly behind the centre array which
mainly handles vocals. The amazing
reduction in backspill of the MLA
Compact masters these challenges in a
very impressive way. The other aspect,
of course, is MLA’s outstanding tonal
quality.”
He set ‘Hard Avoid’ for the areas behind
the arrays where there is a lot of singer
traffic as well as to the areas underneath
the speaker systems. Further back down
the auditorium, the problems become
even more complex, with two tracks
running right through the audience, who
are seated on different levels. Finally,
there is a balcony and several rows of
seating at both side walls that need to
be covered.
“I challenged the system with various
optimisations to achieve the best
solution, and it has really delivered; we
were able to solve many problems with
MLA’s advanced technology, and it was
absolutely the right system for the job,”
he said.
And Riccardo van Krugten also
commends the seamless swap-over
between old and new sound systems.
“The transition was smoother than
expected. We knew it would be a whole
new world for the performers. Part of
the new concept was to re-position and
re-utilise some of the old PA speakers
for monitoring purposes, and that
idea played out really well. All in all,
I believe we have respected Martin
Levan’s clever original sound design
by replacing existing components with
more advanced technology.”
Head of sound in Bochum is Jürgen
Janßen, who mixed all the shows during
the process of changing over the sound
system, while Riccardo created the
matrix layout and Georg took care of the
necessary programming and alignment.
Throughout the process Atlantic Audio
co-ordinated between Martin Audio and
the production team.
In picture: The new Starlight Express
production in Bochum
photos: Jens Hauer.