This page contains a Flash digital edition of a book.
www.prosoundnewseurope.com


August 2012 l 45


installationreport


how they fill a room. But it’s all one-dimensional sound – and that’s not to my taste. However, at the A/B testing in Paris with the Uniline for the first time, I thought, you have the directivity, but you have the dimension of the sound. Such a sonic difference!” As there was budget


available, Maassen specified an ‘A/B redundant’ system, as developed by his mentor Levan. In brief: there are two speaker systems, hung side-by-side. One set of performer microphones are routed to the A system, the other to the B. So, when cast members are in close contact on stage, as long as one is A and the other B, there will be no phase difference between signals caused by A’s voice spilling into B’s mic, and vice- versa. Co-ordinated re- grouping of A and B cast mics at FOH for every scene ensures that there are always clean signals coming from the PA; and a superior sound is


delivered to the audience. The Uniline system chosen


by Maarsen forms a central cluster above the proscenium and comprises 24 APG UL210 cabinets in two hangs of 12, plus four APG TB215S subs, two on each outer edge. The FOH console arrangement consists of three Cadac J-Types (where just one is a rarity in these digital days), linked to the PA system via copper multicore. The 18-strong orchestra uses a


mix of Sennheiser instrument mics and Schoeps overheads. The drummer/percussionist is, unusually, in his own separate room (nicknamed ‘Das Boot’) below the orchestra; his submix is piped into the orchestral pit via APG DS15s. A Yamaha PM5D controls the monitor levels for the orchestra; these are routed to Aviom personal monitors so the musicians can set their own levels. Other APG enclosures include SMX15s and TB118s


Sound designer Hendrik Maassen trained under show guru Martin Levan


they don’t have the same rental system operation like they have in the UK. Production companies are in the habit of buying things outright.” Maassen favours Lab.gruppen


or Powersoft amps for installation, but admits, for touring, he always recommends Lab.gruppen (“for marketing and profile reasons”). The sound designer knows


APG Uniline ‘A/B’ formation, plus subs, above the proscenium


sub stacks; DS15S speakers built into the edge of the stage (and disguised with fabric), and further MX1 scattered around the auditorium (again, on the A/B system) to complement the enveloping sound design. In total, there are nearly 150 speakers in the Palladium Theatre. All speakers have been purchased by the production company. “Here in Germany


the show boasts a much larger PA system than most shows of its class. “The director wanted a lot of atmosphere,” reveals Maassen. “And, for instance, in the part where the characters are down by the ocean, we used a SoundField microphone to record the ocean – actually off the Cornish coast! Then with plug-in software and the large MX1 speaker spread, we make it fill the room. “I’m very grateful to APG, and the producers, that we really found a nice solution to the sound design here.” n www.apg.tm.fr


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52