056 REPORT
THEATRE ROYAL NEWCASTLE
Company: Avid Location: Newcastle, UK
When it came to upgrading the FOH sound system as part of a £4.7 million restora- tion at the Theatre Royal Newcastle, Head Sound Engineer Stuart Middleton chose a VENUE Mix Rack System to achieve the creativity and finger-tip control he needs to cope with any entertainment eventuality. “Versatile high-quality sound is critical to a theatre of this size and reputation, which hosts a huge variety of live entertainment genres; everything from opera, musicals and contemporary dance to live bands and playback, spoken word dramas, and tours like the Derren Brown Live show,” explained Middleton. “We need the ability to switch from a big show-stopper production to a one-night one-man stand-up act - and back again - effortlessly. Using the VENUE system’s standard onboard processing, which includes the ability to set up and recall pre- saved configurations, we’re now able to do just that.”
Thanks to the VENUE Mix Rack System, which is based around the VENUE Profile console and employs the all-in-one Mix Rack processing and I/O component, the Theatre Royal was able to host a spectacular one-night variety show in March 2010 for local children’s charity, Josie’s Dragonfly. This was the very last performance held at the Theatre before it closed for the six-month restoration project that returned the auditorium and foyer to their original 1901 splendour. “The variety show proved a true test of the VENUE console’s workflow capabilities,” confirmed Middleton. “We were able to cope with fast-paced and complex changes between acts, and all at the touch of a button.” When it comes to filling FOH with great sound reproduction that hits all the right
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notes for audiences in the stalls, grand circle, upper circle and gallery, Middleton confirmed the VENUE Mix Rack System punches well above its compact footprint. “The VENUE proved neater and sweeter than any other product in its class, and the quality of the microphone preamps circuitry is truly impressive,” he said. But it was the console’s remarkable range of pre-loaded plug-ins that took centre stage as the sound team prepared for the Theatre’s flagship pantomime production, which this season attracted more than 70,000 people and became the fastest sell- ing pantomime in the Theatre’s history. “We always aim to push the creative envelope when it comes to panto, and this year we worked with Tony Award-winning Sound Designer Gareth Owen who was delighted to find he’d be creating the show on a VENUE system,” said Middleton. “What we did sound-wise for the production almost defies belief,” continued Middle- ton. “In total we cued-up 375 sound effects, all of which were managed from the desk during the show via MIDI.”
While the Theatre was ‘dark’, Middleton and his team were busy getting to grips with the VENUE’s revolutionary Virtual Soundcheck feature, which seamlessly inte- grates with Pro Tools software. “Vitual soundchecks will allow us to do understudy rehearsals at the drop of a hat, without having to worry if the musicians are available,” said Middleton. “I’ll be able to play back individual tracks and give the understudy the exact experience they’ll encounter on stage.”
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