surround sound system for the theatre mainly comprises L-Acoustics 8XT (with LA4 amplifiers) and Meyer Sound UPJunior for the upper circle. Billon explains: “The central cluster has a very important role in this type of show. It plays the role of diffusing the vocals for the orchestra and the dress circle. “A split central cluster offers an important advantage: you can modify the gain and the equalisation of the two sections without altering the whole performance. Of course, separating the central cluster in two sections makes a loss in the coupling, but we don’t suffer because we are not talking long range.” Three different sets of
orchestra share the everyday music section, each orchestra includes seven musicians (drums, percussion, bass and double bass, guitars, flutes and saxophones, two keyboards – one of the two being played by the conductor). The microphones used for the
cast are DPA 4066 (headset version of the 4060) and Countryman B6, (without
headset). “We can place the microphones rather low on the actors’ foreheads to ensure good stability. These DPA mics feature a sound quality that is a reference in this field.
“The Countryman B6 is a
spare microphone for the principal Deloris character (as made famous by Whoopi Goldberg in the film). It is much smaller in size than the DPA, two DPA capsules would have been too visible.” Based on a PC platform system, the CSC Show Control software from CTR Electronics is used for all the sound effects during the show and officiates as a MIDI Master, dynamic automation and audio player. “It offers extreme flexibility in the set-up control and modifications, and even on the fly, as it is very often the case during rehearsals,” says Billon. “We are not using any multi-track system for this show and, due to the automation complexity, the use of a system such as Pro Tools is not justified.” Full of experience from
having been involved in The
Lion King, Zorro, Cabaret and Mamma Mia! musicals in Paris, Billon says: “My role today is to find the right compromise between respecting the specification sheets, the financial realities and the operating ergonomics. During the season, we host a number of conventions or guest-shows and we have to insert those plans in our set-up with a minimum of impact on the production or the customer. I can now identify upstream points that can turn problematic, so manage them with the designers before any concerns are raised.” Billon concludes: “Once we’re done with the phenomenal work during the rehearsals, it becomes a real pleasure over the performances feeling the osmosis, the listening and interaction of the actors, musicians and technicians, until it becomes real alchemy. That’s what will make the evening not simply ‘good’, but ‘magical’.”n www.dbaudio.comwww.dpamicrophones.comwww.stage-entertainment.fr
Above: The main line arrays consist of two clusters, each with 14 d&b audiotechnik T10 mid-his, a B2 sub and
three Q-subs for the front stalls and dress circle
The crew, including Bertrand Billon, head of sound, and Gareth Owen, sound designer (second and third from left respectively)