CSC audio playback software maximises Starlight Expression

<i>Starlight Express</i> pushes the boundaries of Show Control

The UK tour of Starlight Express has one of the most elaborate implementations to date of the CSC Show Control system, including a new, specially-developed iPad remote-control app. Featuring two dual-redundant systems – four CSC racks in total – the tour is using one system at front of house to handle the Voice of Control cues and surround-sound effects, while the other is located in the orchestra pit, close to the MD, and is handling click tracks, music playback and further sound effects. The iPad app is enabling the DSM at the prompt desk to have a remote viewing and cue-triggering system, controlling sound effects stored on the front of house CSC racks.

Dan Samson, associate sound designer and production sound engineer on Starlight Express, outlined the configuration of the CSC system and its prime functions, and also gave us further insights into the show's overall sound design:
"With twenty-four track outputs, the two sets of CSC racks are each configured as dual-redundant systems, with the cues stored on the front of house system controllable by Jack Chandler, the show's DSM, using the new iPad app. Jack has full command of the Voice of Control, the small child in the storyline who is playing with his train set. Although you never see him, the Voice of Control is a very important character in the show, and has to say his lines exactly on cue for the illusion to work. For this tour, the emphasis of the show has shifted to DSM control, and Jack is effectively "mission control" in this context. The iPad app gives him much more flexibility than the usual four-button control panel, especially during rehearsals – he can see the cues that are coming up, and pick up from a different position if required. Having back-stage visibility and control of the trigger list has many applications, and is a real step forward. As well as managing over one hundred Voice of Control cues, the front of house CSC racks are also controlling the surround-sound effects – which feed into the surround and proscenium speaker system – plus a number of incidental cues.

"The orchestra-pit system is used to provide click-tracks into the headphones of the nine musicians in the live band, and control the replay of other music segments, with the MD having start-stop buttons to trigger the cues. Crucially, this system also utilises one WAV player to deliver SMPTE time code, which triggers the replay of the 3D video material for the race sequences. All the CSC racks are networked, with appropriate elements of each synchronised together, to form an immensely adaptable and powerful system. We have had unrivalled support from Orbital, during the planning stages and throughout the tour, and from CTR Electronics who developed the CSC system and created the iPad app especially for this show. Orbital's Richard Carter has given us a lot of assistance with configuring the CSC, and helped to implement every idea we came up with!"


Dan went on to explain more about the versatility of the show's rig, and how that's helping to meet the challenges of the tour's various venues:

"The design of the rig is proving incredibly versatile in practice. We have a lot of freedom in the way we can deploy a show, in terms of achieving the same results in different venues. It's a very big show in all its aspects, and to help the moves from venue to venue, we're using a split trailer approach to the logistics. This is enabling us to plan the order in which we need each part of the sound rig delivered, so we're not faced with everything arriving at once and no room to move. For example, in a particular venue we may need the surround system first, then the front of house system once the rigging's in place, and then the kit for the band area. Being able to assemble the rig in a carefully timed and logical order helps keep the process swift and efficient, and is quite unusual in a theatre context. All the racking is completely splittable, with Orbital's RacPacs really coming into their own – we can have up to 50 metres between racks, allowing us to distribute the racking according to the available space in a given venue. Added to this is the versatility of the Yamaha PM1D's soft patching, which enables us to route to almost any speaker in any position to suit the venue, plus the different ways in which we can configure the d&b Q1 and Q7 systems. Sure, it's a big project to take on tour, but we have the solutions in place."


"With twenty-four track outputs, the two sets of CSC racks are each configured as dual-redundant systems, with the cues stored on the front of house system controllable by Jack Chandler, the show's DSM, using the new iPad app."