The Lion, The Witch and The Wardrobe - PM1D launched

Orbital take the pre-production of The Lion, The witch and The Wardrobe to unprecedented limits

Central based Orbital Sound who specialise in the supply, design and installation of audio systems for all theatre and musical productions are currently in "pre-production" for the Royal Shakespeare Company's musical adaptation of The Lion, The Witch and The Wardrobe, ("Lion") making its London debut at Sadlers Wells for Christmas.

In advance of all their productions, during the critical planning phase, Orbital work very closely with sound designers, operators, and production management to ensure that their Brixton-based facility offers the maximum support. By combining the company's expertise from production engineering, to technical back-up and studio editing, Orbital ensure that all freelance designers are given their undivided attention.

As MD Chris Headlam explained:

"Our approach is to help the sound design team achieve their creative goals not only through our inventive production engineering but also through our commitment to embracing cutting edge technical solutions and keeping in tune with the practical demands of audio in theatre. We treat all designers, freelancer or in-house, with great equal respect and effectively are investing in their future careers".

In order to accommodate the complexities of this acclaimed production of "Lion", Orbital have worked closely with Sound Designer, Scott Myers at all levels to collaborate and help augment his initial sound design, created 3 years ago for the show's first run at the RSC. Scott explained:

"The company have been able to accommodate my changes brought about by the rehearsal process with cast, directors, and other members of the creative team. They have also supported some of my wackier ideas and helped me achieve them, without this approach there would be no progress in sound design".

Orbital have invested in the revolutionary new Yamaha PM1D as a world first to operate as the FOH theatre desk. The potential of this desk as part of Orbital's extensive inventory is set to revolutionise sound design in theatre for both complex sound effect plays and larger musicals.

As Scott Myers explained:

"With the facilities on the PM1D I believe it will emable me to achieve simultaneous complex operations such as various changes in orchestra colours, quickly yet subtly, difficult changes in foldback mixes, and multidimensional sound effect placement. This should allow me to give the audience a first rate theatrical experience".

From the show's inception, Myers and Orbital's head of production, Andy Robinson, have engineered detailed CAD schematics and produced a new system design, breaking new ground by way of the use of the PM1D.

Andy Robinson explained:

" Working on the pre-production of "Lion" is a tremendous challenge. We have incorporated Scott's original design and always make a point of fully supporting freelance designers with their many varied approaches".

Orbital's in house edidting suite has proved especially useful on "Lion". Working closely with Pro-Tools expert Sebastian Frost, Scott Myers found that the company's vast library of sound effects has enabled him to improve on certain original sound cues. It has also proved an excellent source for creating the new cues that have been requested such as the supernatural howl when Peter stabs Maughrim in "Lion", a major dramatic moment.

Orbital's Technical Support team, Drew Mollison and Tim Sheratt, who have both been in consultation with Yamaha R&D in the development stages, are combining their expertise and embracing the new challenges that this desk has introduced. As Drew Mollison explained:

"Although the programming is compex, there is no doubt that the capacity of the PM1D is set to change the conventional approach to pre-production and will set a precedent for the future. For "The Lion, The Witch and The Wardrobe" we are accommodating 28 cast members and a 14 piece orchestra by way of 108 sources through 96 inputs. This includes 28 radio mics and 41 orchestra channels, and at least 16 effects inputs. With 24 Matrix outputs and 14 additional outputs driving the surround system as well as numerous auxillaries, this is a tremendous exercise in embracing new technology".

For further information contact: Chris Headlam
Orbital Sound, 57 Acre Lane, Brixton, London, SW2 5TN
Tel: 020 7501 6868 Email: chris@orbitalsound.co.uk

For press information and photographs contact: Anna Webb
Litmus Communications. 33 Enfield Cloisters, Fanshaw Street, London, N1 6LD
Tel: 020 7739 5905 Email: anna@litmuscomms.demon.co.uk

Picture Captions:

1) Top right picture, from left to right, Scott Myers with Orbital's Sebastian Frost in Studio editing suite

2) Left picture, from left to right Orbital's Tim Sheratt, Scott Myers and Orbital's Drew Mollison at work programming the PM1D