The detailed sound effects, a vital ingredient in the traditional Christmas Show set, were created in Orbital's newly expanded ProTools editing suite enabling Mick Potter and Orbital to work closely together meeting the tight production deadlines more efficiently. Potter explained:
"I certainly was very impressed with Orbital's high standards especially given the late stage they were confirmed as equipment supplier for the show. Also the new in-house effects studio was invaluable, allowing us to source, compile and composite sound effects on Protocols and Akai S6000s.
Produced by Sadlers Well's Chief Executive, Ian Albery, directed and choreographed by Gillian Lynne: this ground breaking Musical show is appropriately renamed as Dick Whittington: London's Musical.
Christmas shows, renowned for very short lead in schedules, makes them a particular challenge from an audio supply and design perspective. The sound quality needs to be more than perfect, explained Sound Designer Mick Potter (BA) who specified the system from Orbital.
Orbital MD, Chris Headlam, explained that this was by no means an average Pantomime, Mick Potter has specified a high quality system which meets the expectations of the Producers and Directors alike, whilst complementing the new look Sadlers Wells with a sonic accuarcy.
A variety of D & B cabinets and amplifiers were selected including the new C690; a specialist application loudspeaker aimed at wide dispersion vocal use. A 40 channel Amek Recall control console with Rupert Neve input modules was used for the principal radio mics, with 2 x expanded Yamaha O2R digital consoles which submixed the orchestra and sound effects. The Akai S6000 sampler proved invaluable, allowing instant access to the source material. Two Denon Minidiscs were also used for some quad-panning effects.
The combination of the Amek Recall desks and the Yamaha O2R digital consoles, were specifically specified and supplied by Orbital, to enable for all the console settings to be stored onto a floppy disk and archived until the show reopens in December 2000. On an Amek Recall every single switch and potentiometer setting can precisely be recreated from a floppy disc master, even years after the event.
The detailed sound effects, a vital ingredient in the traditional Christmas Show set, were created in Orbital's newly expanded ProTools editing suite enabling Mick Potter and Orbital to work closely together meeting the tight production deadlines more efficiently. Potter explained:
"I certainly was very impressed with Orbital's high standards especially given the late stage they were confirmed as equipment supplier for the show. Also the new in-house effects studio was invaluable, allowing us to source, compile and composite sound effects on Protocols and Akai S6000s.
