Orbital Sound Ltd

Sound Reinforcement

LCS MATRIX 3 MAKES WEST END DEBUT AND AUGMENTS THE ACOUSTIC POTENTIAL OF LONDON'S SHAFTESBURY THEATRE

"Also, I have witnessed dedicated assisted reverberation systems being installed into buildings at costs and then only used a few times a year. Integrating this system with the performance system meets both needs, but at reduced cost and with greater flexibility and expression.
"Lastly I should add that I have some very happy performers who get that oh so important confirmation that their voice went out to the room – and has come back.
At the Shaftesbury Theatre, where Bill Dimeo heads s three-strong sound operation team, the set up comprises three Matrix 3 LX-300 frames- the modular ‘engine of the system, complete with plug-in cards – a controlling computer, screen monitor and a CueMixer, a compact control surface for Matrix3. Of the three LX300 frames, one is dedicated to the CRAS system and the other two spin sound, with various input and output modules.
Some of the output channels and MID from the audio console are routed into the LX300 frames and as well as performing EQ, delay, matrixing, and cues to external playback machines, Matrix 3 provides the ability to do multichannel panning using the unique Space Map feature from its Cue Station control software.
Space Map offers flexibility not seen on other systems as designs can be configured on an individual basis and inn relation to the available acoustic space. Notes Clarke, "Using Space Map it is possible to achieve a multi-speaker pan at any time code point almost instantly. LCS certainly further augments the potential of sound design across many applications, but particularly in a Grade 2 listed building, where the acoustics are implicitly challenging.
ROBERT STACK

UK – Peggy Sue Got Married is a new musical production, which realises the dream of original screenplay writers Jerry Leichtling and Arlene Sarner to adapt their 1986 international hi film – directed by Francis Ford Coppola – for the stage.

The show is staged in the Shaftesbury Theatre, one of London's most beautiful Grade 2 listed buildings. Produced by Paul Elliott Ltd and directed by Kelly Robinson – with stunning choreography by Sergio Trujillo- the 30 strong cast is headed by Ruthie Henshall. The score, written by Bob Gaudio (formerly with the legendary Four Seasons) sets an energetic pace and is significantly enhanced by Rick Clarke's sound design, which features the Level Control Systems Matrix 3 audio mixing/processing engine for the first time in a West End musical. It was supplied to theatre sound specialists Orbital by the LCS UK distributor, The Sound Department.
One of the more dramatic effects that Clarke uses in the show is the implementation of LCS'VRAS technology. VRAS is the most recent development in electroacoustic enhancement of architectural spaces. It can be used to transparently, yet dramatically, change the acoustics of a space as if that space really had those acoustical characteristics.
It consists of a complex electroacoustic processing system built around a network of mics feeding into multichannel digital reverberators, and out again to loudspeakers. The reverberation algorithm is implemented on a DSP card plugged into a Matrix 3, LX-300 engine that is fed into the standard matrix where the routing, equalisation and level control of the mics and speakers taked place. The principle is based on an acoustic model of coupled architectural spaces and a virtual, more reverberant space simulated by the reverberation algorithm.
Orbital first used the VRAS system on the Alan Mathieson sound designed Motorola stand at this year'sCeBIT Exhibition in Hanover, where Steve Jonas who also did the LCS programming for Peggy Sue Got Married, worked his magic. Rick Clarke was introduced to the system during Motorola's pre=production, and was determined to use it on a theatre show at the first conceivable opportunity. His goal at the Shaftesbury was to take an acoustically ‘dead' room and make it come alive on a cue by-cue basis.
Clarke had been thinking about using a system like this for a long time, having experimented, unsuccessfully with reverb units and surround speakers. He notes that this system is complex and does not work straight out of the box, but with work and time, he has achieved and exceeded his original idea," I have always wanted a reverb system that replicates how real reverb works – i.e. with the room speaking back – and not simply adding reverb sounds into the FOH mix.

More news >

"Also, I have witnessed dedicated assisted reverberation systems being installed into buildings at costs and then only used a few times a year. Integrating this system with the performance system meets both needs, but at reduced cost and with greater flexibility and expression.
"Lastly I should add that I have some very happy performers who get that oh so important confirmation that their voice went out to the room – and has come back.
At the Shaftesbury Theatre, where Bill Dimeo heads s three-strong sound operation team, the set up comprises three Matrix 3 LX-300 frames- the modular ‘engine of the system, complete with plug-in cards – a controlling computer, screen monitor and a CueMixer, a compact control surface for Matrix3. Of the three LX300 frames, one is dedicated to the CRAS system and the other two spin sound, with various input and output modules.
Some of the output channels and MID from the audio console are routed into the LX300 frames and as well as performing EQ, delay, matrixing, and cues to external playback machines, Matrix 3 provides the ability to do multichannel panning using the unique Space Map feature from its Cue Station control software.
Space Map offers flexibility not seen on other systems as designs can be configured on an individual basis and inn relation to the available acoustic space. Notes Clarke, "Using Space Map it is possible to achieve a multi-speaker pan at any time code point almost instantly. LCS certainly further augments the potential of sound design across many applications, but particularly in a Grade 2 listed building, where the acoustics are implicitly challenging.
ROBERT STACK