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environments.
“There are many high quality loudspeaker systems available for use in theatre and, of course, the merits of each particular manufacturer is, in parts, a subjective decision. We are continually meeting different manufacturers, listening to new products and also talking to sound designers to see what is proving popular in real world environments. Across all designers and consultants, d&b are consistently among the highest regarded manufacturers because, simply put, they make ex- cellent sounding loudspeakers. In addition to this, the ability to use a wide range of loudspeakers with different amplifiers, a sizeable sup- port and hire network, and a very well controlled off-axis response, mean they are an attractive choice for many theatres,” said Ian. Based on a budget-sensitive desire for a simple analogue interface and audio quality, a Midas Verona 480 desk has been selected, along with a rack of effects and processing, which includes a Denon DNV100 CD / DVD player, Tascam CD 01U CD player, Tascam CDR-900 CD recorder, dbx 2231 graphic equaliser, dbx 166XL dual compressor limiter and a Yamaha SPX 2000 digital stereo effects processor.
The show relay system consists of an RCF PR4092 9:2 preamplifier and mixer, Symetrix 528E EQ / compressor / limiter and a Sonifex 1-in-12-out audio distribution amplifier, while installed paging loud-
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“ I’m really proud of this. It’s one of the biggest installations that we’ve
done at Stage Electrics it’s a fantastic job to be involved, and it’s nice to come here and show it off.”
moving light or gold plated microphone, it forms the backbone of the entertainment technology and is key to the success of the theatre.” The theatre’s lighting system is built around four ETC Sensor dim- ming racks, which give 196 ways of dimming, together with an ETC Congo control desk. The house and working lights work off an ETC Unison-based system.
The lighting rig comprises a front of house gantry, with 10 bars on stage and two fly galleries on either side. Classic theatre fixtures dominate the lighting stock, which includes 10 ETC Source 4 fixed lens profiles, 40 ETC Source 4 zoom lens profiles, 10 ETC PARNel floodlights, 10 Philips Selecon Arena fresnels, 30 Philips Selecon Rama PC and fresnel and 20 James Thomas Par fixtures. Charcoalblue’s Paul Crosbie explained: “We work in such an exciting, and fast developing industry that new equipment is always being developed, and technology is continually evolving. In order to meet the brief, and provide the best possible installation for the theatre we must fully interrogate every equipment choice. The challenge for us is to remain on the front edge of the technology, without being sidetracked by passing trends.”
The Lab has been designed with ease-of-operation in mind, as the space is mainly used for rehearsals. A smaller d&b audiotechnik sound system with Tascam CD player provides playback and a com- prehensive lighting rig with an ETC Smart Fade desk means practice groups can use the room with minimal fuss. Projects the size of Corby Cube don’t just materialise overnight. With so many stakeholders involved in various elements of the building, the timescales tend to be long and the processes, at times, laboured.
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speakers are surface-mounted Penton Sentry 6 / RTC 32 and RCS5 22 ceiling units and wall-mounted Penton Sentry 6 / STC 11’s and Martin Audio C4.8Ts, all powered by an RCF paging amplifier. Stage Electrics also custom built a fully equipped Stage Manager’s desk with clock, stopwatch, work lights and cue light control, as well as a wired dual-channel rack-mounted intercom station, with goose- neck mic and speaker station.
Ian Stickland explained that it is the less prominent aspects of a theatre’s technology that are integral to its successful operation: “The one thing that every theatre must have are the unseen pieces of equipment, such as installed wiring, socket outlets and patch bays. These are bespoke systems for each space, but will all appear on the design at some point. Although this is less glamorous than the latest
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