d&b audiotechnik.<\/a><\/p>\n <\/p>\n
Designed and installed by Southby Productions, the system features 143 loudspeakers covering the 40m wide performance stage and is \u2013 to date \u2013 the highest-resolution d&b Soundscape system installed anywhere in the world.<\/p>\n
<\/p>\n
Having been impressing audiences with its shows for 45 years, Thursford takes great pride in its high production standards \u2013 and for 2023, it was time for a sound system upgrade. Sound designer Mark Rogers explains, \u201cBecause our room is very wide and not very high, we\u2019ve never been able to use line arrays, so we had a distributed point source system with over 50 boxes. This meant that pretty much every audience member heard most of their sound from the speaker nearest them.\u201d<\/p>\n
<\/p>\n
As the shows increased in complexity, the challenge of balancing sound became more of a compromise, with some elements sacrificed in favour of others. Nor did the system allow for any concept of sound localisation \u2013 a failure exacerbated by the stage\u2019s extreme width. Rogers recalls, \u201cWhen a sound began, we could see audience members trying to work out where the thing was, and in those few seconds, the performance had lost their attention.\u201d<\/p>\n
Rogers, who had long been aware of d&b Soundscape, partly through working alongside sound designer Sebastian Frost, an early pioneer of the system, recalls a discussion with colleagues after working closely with Southby Productions and d&b Soundscape on an opera season: \u201cWe asked, \u2018How could we ever go back to mono after this?\u2019\u201d<\/p>\n
Returning to Thursford, he talked up immersive sound, hoping it would one day solve their limitations. Fortunately, the venue\u2019s owners, the Cushing family, are firm believers that only the best is good enough. They soon gave the go-ahead for an upgrade, and the Southby team presented an on-site demonstration. \u201cIt didn\u2019t take long to convince everyone that Soundscape was the way forward!\u201d says Rogers.<\/p>\n
<\/p>\n
With Jack Page from d&b audiotechnik as design lead, the team from Southby Productions, including Carys Thomas Steer, Digby Shaw and project manager James Southby, then began working with Thursford\u2019s sound team on a design that worked for the unusual space. The result, based on d&b ArrayCalc iterations, includes two adjacent 360\u02da Soundscape systems. It was installed by Southby\u2019s crew in just two weeks, and\u00a0handed over \u2013 on-time and on-budget \u2013 to a grateful Thursford team.<\/p>\n
<\/p>\n
The system has 17 d&b Y10P point source speakers, along with 18 44S cabinets as front-fills, covering the main stage. The Y10Ps are at 2.35m intervals along the stage\u2019s full width, making this the highest-resolution Soundscape system yet. Its two 360\u02da surround fields include 22 T10 cabinets and three 4S speakers, along with a series of T10 and 44S delays. The sub array consists of 10 V-SUBs, plus four SL-SUBs (in INFRA mode) in the centre of the array. Two DS100 processors provide the power of the d&b Soundscape system.<\/p>\n
<\/p>\n
A TiMax tracking package with 34 tags is deployed among the huge cast on this vast stage, with the ensuing complexity elegantly managed by Atlas, a new interface solution from Flamingo Software. Atlas, says Rogers, is \u201cfantastic for controlling spatial audio in theatres\u201d while Southby\u2019s Head of Soundscape, Aaron Holloway-Nahum, calls it \u201can absolute game-changer for Soundscape.\u201d<\/p>\n
<\/p>\n
The master control is QLab, and the show file contains over 900 cues. Atlas also receives tracking data from TiMax and then sends the necessary OSC commands to the d&b DS100s to control object positioning, En-Space reverb sends, and other settings.<\/p>\n
<\/p>\n
Naturally, with the endless creative possibilities comes an increased workflow and a steep learning curve. Rogers says, \u201cThe main change at FOH is a lot more screens! We now have Atlas, d&b R1, Waves, QLab, Wavetool, Smaart, TiMax and Reaper, as well as those in the DiGiCo SD7QT. In some ways, the operation of the mixer is simpler: previously we almost maxed out the matrix with complex routing, but now that\u2019s all handled by d&b Soundscape . . . But we also use a lot more groups: there\u2019s a group for every object send, and there is a lot of re-routing of channels to different groups\/objects throughout the show.\u201d<\/p>\n
<\/p>\n
The newly available resolution also requires more microphones than ever before. \u201cWe used to rely on perhaps 16 on-stage performers being mic\u2019d, which was sufficient because it was more or less irrelevant where the singers were. But with Soundscape, you can hear every mic clearly.\u201d<\/p>\n
<\/p>\n
He continues, \u201cWe now have up to 30 mic\u2019d singers, increasing the already vast workload of my colleagues Ian Savage and Ed Mackay, who are also looking after the TiMax tags. We try to ensure that Tag 1 stays with Mic 1 etc \u2013 but with such a complex show, that\u2019s not always possible.\u201d<\/p>\n
<\/p>\n
As well as d&b Soundscape\u2019s En-Scene localisation capability, Rogers is also using En-Space room emulation. He says, \u201cOne highlight is when the cast process into the aisles for traditional Christmas carols like you\u2019d hear in Kings College, Cambridge. The En-Space Cathedral setting is gorgeous, and has had cast, crew, and audience in tears. You forget you\u2019re in a farm shed!\u201d<\/p>\n
The new system has also had a positive effect on collaboration. \u201cWe work more closely and earlier than ever before with choreography,\u201d says Rogers, \u201cand we anticipate working more closely with lighting on sharing tracking data for automated effects, and with the music team on issues such as realism versus illusion. Our arranger and composer Jonathan Smith is also delighted, and the possibilities of the Soundscape system have already given him inspiration for new arrangements.\u201d<\/p>\n
<\/p>\n
Thursford\u2019s Head of Sound Kieran Lowe gives the viewpoint from the mix position. \u201cThe biggest difference I\u2019ve noticed is that it\u2019s now such a realistic listening experience. It\u2019s almost as if the PA isn\u2019t there at all; when we push the faders up it\u2019s as if the orchestra simply becomes louder, with the sound emerging\u00a0from its original sources \u2013 the instruments. The detail has also hugely improved, especially with the orchestra\u2019s more subtle instruments. Also, it no longer feels like you\u2019re trying to shoehorn 150 channels through a single loudspeaker – it\u2019s now a pleasure to mix.\u201d<\/p>\n
<\/p>\n
And for the audience? \u201cIt gives us the chance to engage our audience more fully,\u201d says Rogers, \u201cto tell stories in ways that enhance their experience, without them being distracted by technology, without their attention being diverted by an unnatural dislocation of sound and vision.\u201d<\/p>\n
<\/p>\n
He adds, \u201cWe\u2019ve not made a big deal about Soundscape to our audience \u2013 it should be almost invisible to them. We\u2019ll know we\u2019ve done our job well if new visitors love it, and returning visitors don\u2019t notice why they enjoyed the show more than they ever have before! And, so far, it seems to be working out that way.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
The Norfolk village of Thursford, known for its steam engines, musical organs and fairground rides, as well as its spectacular theatrical shows, will be delivering a new, immersive sound experience…<\/p>\n","protected":false},"author":14,"featured_media":61039,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5722],"tags":[],"yoast_head":"\n
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