058 VENUE
nel amplifiers were recommended by APG, however, as Hendrik is a self-confessed old fashioned sound guy, he was skeptical at first. He said: “I’m not a big fan of switch mode power supplies because I think there are very few that have really nice impulse response. It might sound old fashioned but if you compare a classic amplifier with a switch mode amplifier, the music just doesn’t have as much dynamic.”
The switch mode, class D K3 amplifiers are compact at just 1U in rack space, yet offer high quality sound performance. Hendrik is in agreement: “They work very nicely and I don’t think we’ve had any problems. For me, as a designer, you go with what sounds right with what you want to achieve.”
For the proscenium SMX15 system, Crown MA-3600VZ amplifiers were chosen, because in Hendrik’s opinion, these amplifiers provide the optimum power and impulse response for the APG SMX15 speakers. Hendrik continued: “We have a lot of delay speakers and stuff like that so it was a compromise, we couldn’t buy all new, so we used what we had. We’ve mixed them up and put them in the places we think they work best.”
Photo by Stage Entertainment
Type consoles. The J-Type desk is one of the most versatile consoles available due to its customisable frame size. Sound operators can insert any module in any position to create the desired desk for any application. Sound Operator for Rebecca, David Prikryl, said: “It’s very flexible and it sounds great. You can swap different modules during the show. With the analogue desk, you have a lot of possibili- ties if one channel breaks to get into where you need to get to, not like with a digital where if one channel has a fault, the whole thing goes down.” Prikryl has been using the Cadac J-Type for most of the 12 years he’s been in pro audio. He added: “I really like it because it’s reliable and we know how it works because we often use it in this theatre.”
The consoles feature an automated mixer with 256 inputs, 12 auxs, 16 subs and 32 matrix outputs. Hendrik said of the Cadac desks: “The Cadac J-Type comes in different frame sizes so for each show you can do a new desk. They are just frames, you can pull out every module so you just design the desk every time. That’s a big advan- tage, it’s not a fixed frame, you can put just inputs in, just outputs, so you can create a new desk every time you need a new desk. “Originally when I did Rebecca in Vienna I also had a Cadac desk so we stuck with what we know. It’s a theatre standard and has been for many years now. Other companies are coming up and they have new and interesting desks but of course there is always change. But for the last 10 - 20 years they have been very popular in the theatre world. They are very very good desks.”
Another advantage of the analogue Cadac desks is their compat- ibility with the A-B sound system. Throughout Rebecca singers need to be switched from one system to the other, and this can be pre-programmed using the desks. Hendrik explained: “Not very many analogue desks can do that. It’s computer controlled and all the snapshots are computer controlled.
“Originally it was a very good studio desk, and when Martin Levan worked in studio he said to Cadac, ‘we need this in the theatre’, so they started to develop, along with other designers, to make it do what it needed to do. It’s a very flexible desk.” Amplification is provided by a number of different manufacturers and models. This is mainly due the way European production compa- nies operate. Many of them acquire stock over time, purchased for other productions, so when a venue is being kitted out for a new production, it is often the case that equipment is re-used. For Rebecca, Hendrik used eight Crown MA-3600VZs, eight Powersoft K3’s, two Crest 8001’s, 22 Yamaha H5000’s, 18
Lab.gruppen iP 2100’s and 15
Lab.gruppen fP 2600’s. The Powersoft K3 2-chan-
www.mondodr.com
Processing at the 1,800-seat Palladium Theater was similar to amplification, in that more than one product was specified, however, there was a different reason behind this decision. The mix of pro- cessing technology is for practical reasons. Hendrik explained: “For the line arrays and proscenium speakers we use APG processing. We really wanted to use their processing because I know it works very well. APG is not yet, but I hope that changes for them, a brand that everyone accepts. Whereas Meyer Sound, if you say Meyer Sound then lots of sound designers will say ‘oh yeah, that’s cool’. So the producer asked me if we could use Meyer Sound controllers in certain places because when we close the show it will be easier for the next designer to use those controllers.”
There are eight APG DMS26 digital processors, 22 APG SPMX quad static processors and three APG LPDS15S stereo proces- sors installed at the theatre. Two Meyer Sound Galileo loudspeaker management systems look after the delay lines, the subs and the front fills, while three Meyer Sound MM4-CEUs provide frequency and phase response correction circuitry specifically for the 48 Meyer Sound MM-4 loudspeakers installed at the theatre. Microphones for the performers are a combination of Sennheiser and DPA. The majority of the singers use Sennheiser MKE-I’s, two cast members perform with DPA 4060-B03’s, five use Sennheiser Platinums and just one has the Sennheiser MKE II-Gold. Testing was carried out before the live shows, to establish which microphone
TECHNICAL INFORMATION
SOUND 24 x APG UL210 Uniline cabinet; 4 x APG TB215S subwoofer; 8 x APG SMX15 speaker; 5 x APG DS15S coaxial speaker; 6 x APG TB118S subwoofer; 146 x APG MX1 speaker; 48 x Meyer Sound MM4 speaker; 3 x Cadac J-Type console; 8 x Crown MA- 3600VZ amplifier; 8 x Powersoft K3 amplifier; 2 x Crest 8001 amplifier; 22 x Yamaha H5000 amplifier; 18 x
Lab.gruppen iP 2100 amplifier; 15 x
Lab.gruppen fP 2600 amplifier; 8 x APG DMS26 digital processor; 22 x APG SPMX quad static processor; 3 x APG LPDS15S stereo processor; 2 x Meyer Sound Galileo loudspeaker management system; 3 x Meyer Sound MM4- CEU unit; Sennheiser MKE-I mics; 2 x DPA 4060-B03 mic; 5 x Sennheiser Platinum mic; 1 x Sennheiser MKE II-Gold mic; Sennheiser SK5212 transmitters; Sennheiser EM-3732 receivers
LIGHTING & Visual 116 x Vari-Lite moving lights including VL3500Q Spots, VL3500 Washes, VL3000 Washes and VL2000 Spots; ETC Source Four profiles; 120 x generic colour scroller; Amptown lighting fixtures; 2 x MA Lighting grandMA full size console; 2 x Barco HD projector; 1 x 50ft semi-translucent theatrical drape; 3 x Green Hippo Hippotizer Grass Hopper media server
www.stage-entertainment.de
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