Amadeus 3D sound system brings history alive
- Details
The State-run theatre is located in the exact location where the Xi'an Incident happened. Amadeus worked with its distributor, Guangzhou Sign King ET Co., Ltd., Swiss-based company Sonic Emotion, and British manufacturer of digital mixing consoles DiGiCo to design and install the sound setup within the massive new building.
Wymen Wong, of Guangzhou Sign King ET Co., Ltd., states, "Amadeus delivered the best solutions, both in terms of products and services, matching the design constraints and goals that the Show Director' expectations. The audience also expects a lot from a sound system and AVLS combined everything as a whole."
Gaetan Byk, Marketing Manager at Amadeus adds: "The set-up's complexity, as well as its artistic dimension, implied dual implications for Amadeus, both material and immaterial, offering a savoir-faire, an expertise, more than just offering well-developed speakers. Amadeus' legitimacy stems from the prestigious legacy gained in the professional audio world over the last 25 years. Our long list of users includes many of the greatest sound engineers, composers, mixers and producers in France.
"Our great relationships with major French theatrical, musical and cultural institutions, and with professionals with talents, sensitivities and careers - both original and complementary - helped us to achieve state-of-the-art system implementation in this amazing performance space," continues Byk.
"We solicited the services of the prestigious Théâtre National de Chaillot (Chaillot National Theater) which acquired a similar immersive sound system last year. We were able to work with Marc Piera, the Theater's Sound Department Manager. Marc Piera is also a composer, musician and sound engineer, who began working in the entertainment industry in 1982, in ballet, theatre, music, and on various other live performance events," says Byk.
Marc Piera explains his ideas about working with immersive sound and spatialization, "I believe since my beginnings working in live theatre, that inside each sound technician is an electro-acoustic 'creator' able to sublimate, reinterpret or magnify a musical project. These new techniques of diffusion finally offer us the choice, that of building our space, with its depths, its images and its relationship with the scenic elements of the stage. These new sonic techniques allow us to be architects of the sound, sound creators, finally freed from the dictates imposed by the 'acceptable' or usual physical positions of the loudspeakers in a theatre."
(Jim Evans)
