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September 2014 l 39

Philip Selway, Adem Ilhan, and Quinta bow a vibraphone during the performance

(L-R): Alan Russell, Jon Clarence and Léon Phillips with Allen & Heath’s iLive


surface, PL6 controller and the iLive MixPad app. All the sources and zoning, EQ, delays and SFX were handled by Allen & Heath’s Dante-enabled iDR- 32 MixRack.

run back to the central control room. You can patch anything you want from one room to another, which enables a great deal of technical flexibility and control over the studios.” With an excellent base on which to design his sound system, McComb turned to an Allen & Heath iLive setup “not only because he’s fairly familiar with it and it’s very compact, but also because he realised it was going to be one of those interactive performances where the musicians needed some control over the sound themselves as well as being able to monitor what’s going on,” explains Allen & Heath product

manager Léon Phillips. “He could see a way of using our ME-1 personal listening stations with our regular iLive system to provide something which they could rehearse with off-site, and then bring it in and tie it into the building’s infrastructure.”

The ME personal mixing system comprised a ME-U hub and several ME-1s, which Selway says “gave us the versatility between the two rooms and the hands-on control of all the different musical stations around the performance area and that was brilliant. Generally when you’re performing, if you’re on stage

you would have a very different musical experience from what is going on in the auditorium, whereas this one, because we’re right in the middle of the performance area, we were able to just lose ourselves in what was coming back from the PA. “Musically, I think we had a very similar experience to the audience but there were points where we would need to hone in on certain details and actually, that system was brilliant for it.” Perhaps the only people not moving around the space were McComb, Clarence and Alan Russell, music technology technician for Selway. The iLive’s compact footprint and

remote control capabilities allowed them the option to contemplate being part of the performance, but as Clarence explains, “because the performances are really close, and there’s a lot of interaction between the musicians and the dancers, if we were in the room we would be an intrusion”. “The dancers are sometimes less than three feet away, so if you had another technician in the studios it would distract from what they are trying to achieve. That’s why this (system) works quite well.” Remote control of the live sound was made possible using an iLive-R72 rackmount

The Cunnigham Events weren’t the first public performances to be held at the new Rambert space. After the ceiling collapse at the Apollo Theatre, the building hosted a touring version of The Curious Incident of the Dog In the Night- Time. Yet despite its brilliant technical infrastructure, there was never any intention to turn the new facility into a performance venue. This makes the success of pulling off a complex show like this that much sweeter for Clarence: “This is the first time they’re really using the studios in such a complex way) and we are really pleased with the buildings design and technical infrastructure that has served us really well.” 

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