www.psneurope.com June 2013 l 49
installationreport
either side of the surtitling projection beam above the stage, before the stage curtains. The amplifiers are located close to the speakers and are remote controlled through a network, like all other equipment in the ORW. The line arrays, consisting of 20 KIVA cabinets – two x six KIVA in front of the curtain and two x four KIVA to serve the lower seats – plus eight SB18 and 14 8XTi as infills, ensure complete coverage of the whole theatre: every seat offers the same listening comfort.” Instead of choosing the same red colour as the curtains, the MLD decided to paint the KIVA boxes black, adding a decorative element to the stage. The whole venue was cabled with Cat6
fibre optics, replacing the ‘traditional’ microphone cables. “Installing Soundcraft stageboxes for the signal transfer from the stage to the Soundcraft Vi 4 console was a crucial measure – in an opera environment, noiseless connections are essential throughout the system,” says Vard. In addition to the fixed audio gear, a complete HD video system and a wireless DECT Clear-Com Freespeak network, Riva Audio also supplied a full set of wired (Shure and AKG) microphones
and a wireless Sennheiser Series 3000 system. A Yamaha 01V96i console with two L-Acoustics 108P speakers plus two L-Acoustics SB15P subwoofers provides a portable set-up for multiple applications. “The mobile system will be used in the beautifully restored 250- capacity entrance hall, the 300-capacity guest lounge and in the rehearsal room,
events per year now held in the Opéra Royal de Wallonie
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offering space for some 200 people,” says ORW technical director Eric Libert. The Opéra Royal de Wallonie now hosts some 100 events per year. “In December, we hosted the concert of (French singer) Michel Jonasz in the main venue – this would not have been possible without the new audio system,” Libert concludes. n
www.l-acoustics.com www.rivaaudio.be www.xlrpro.be
(From L-R): Curious Sound designer Ian Dickinson, lighting designer Paule Constable and sound designer/composer Adrian Sutton
UNITED KINGDOM Curiouser and curiouser By Erica Basnicki
THE ACCLAIMED National Theatre production of The Curious Incident of the Dog in the Night-Time recently took home seven Olivier Awards, including Best Sound Design; an accolade shared by Autograph’s Ian Dickinson and composer Adrian Sutton. “One of the things that appealed to
me about [this show] was that it was apparent very early on that the boundary between music and sound design was going to be very blurred, if at all distinguishable,” said Sutton. “[Ian] was headlined as the sound
designer and I was headlined as music but it sort of met in the middle.” Using a combination of software such as SuperCollider, Max/MSP and Ableton Live, Sutton was able to sonically emulate the love of maths and, especially, prime numbers experienced by protagonist Christopher Boone, who lives with an unspecified syndrome not unlike Aspergers or high-functioning autism. “I took it to ridiculous lengths,” admitted Sutton. “I was using SuperCollider to create sounds whose harmonic partials only consisted of frequencies that are only prime numbers.”n
www.curiousonstage.com
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