082 VENUE
approach,” says Sven Soren Beyer, Founder of phase7. “The way the single instruments are able to shift their positions in the room and inside the heads of the audience still amazes me. The musicians are not really there, but they seem to float and walk around as if they are actually hovering. The process is very fascinating and unfamiliar to the human ear. I am pretty sure Morton Feldman and Samuel Beckett would have used IOSONO if they would have had the chance.” Work to realise the score began with the programming of the music using a combination of orchestral sample libraries and synthesisers by phase7’s Musical Director Christian Steinhauser and his associ- ate Raphael Thoene. Their initial work involved recording a project in Nuendo 5.5 that contained all the finished instrument tracks and was mixed at the ETI Institute at Hochschule fur Musik Detmold, a lead- ing institution for professional music education, that includes an IO- SONO equipped recording studio. The IPC 100 was used to set the positions and automate movements of sound objects representing the instruments of the virtual orchestra, using a network connection (Ethernet) and one audio connection via MADI between the Nuendo PC and the IPC 100. In the Hellerau theatre associated audio signals were then sent via MADI. “The IPC 100 does the processing or rendering of all 68 speaker signals used, according to the input audio signals and their positioning information,” explains Christian. “The processor also manages the speaker equalisation and crossover for
the subwoofers. For the final show the whole mix was printed from the Nuendo project to an IOSONO content file. It’s not a mix down to a certain speaker channels. It’s object-based, this means it contains the sound objects position and audio information. During the show this file was played back and rendered on the IPC 100 in real-time chased by an incoming timecode signal.”
Having mixed the music a speaker set was installed at a rehearsal stage to provide Eir with the ideal rehearsal situation. “For an opera singer the situation we are using is new and surreal,” says Christian. “She needed to get used to the system unhurriedly so that she could concentrate on the singing. Because of the situation of the virtual orchestra there was, of course, no conductor who interprets live, so we recorded Raphael’s conducting and synchronised the video with the IOSONO system. The video picture could be followed on a moni-
“The musicians are not really there, but they seem to float and walk around as
if they are actually hovering. The process is very
fascinating and unfamiliar to the human ear.”
tor by Eir during the performance.” Once at the Hellerau theatre a total of 62 Yamaha DSR 112 active speakers along with four stacks of two d&b audiotechnik B4-SUB subwoofers were installed. Jan Langhammer, Application Manager at IOSONO, tuned the speakers with the IOSONO Room Tuning Tool and measured every speaker in the angle as well as in the general position. Eight DSR112’s were mounted under a seven metre truss with a speaker to speaker distance of 0.88 metres, with eight of the truss elements used to set up an octagonal speaker layout around the audience. After mounting the speakers the rig was lifted to a height of 3.5 metres. The four stacks of B4-SUB subwoofers were placed on the front, back, left and right side. Jan explains: “The goal was to create an even spatial resolution in 360° around the audience. With 64 speakers for this size of the venue it is possible to render focused sound sources. By lifting up the speakers the sound level difference between listeners near and far from the speaker was optimised, but before the audience gets the impression of sounds coming from places above their heads. The subwoofers were used as a low frequency extension for signals below 60Hz. As they could not be flown, four places on the sides were chosen to avoid a discon- nect between the localisation of low and high frequency parts of one sound object.” A Yamaha 01V console handled a DPA 4066 headset mic used for Eir’s voice. “The 4066 offers a clean and transparent sound quality with lots of headroom,” says Christian. “Attention has been paid to the humidity problems that often occur in theatrical applications and to the lightweight construction of the headband itself. And most
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