Fergus O’Hare, one of Aura’s directors, wanted to incorporate a number of new products into his sound design for the show, and turned to Orbital to provide the solutions. Fergus commented: "By championing new technology, we’re able to offer producers, directors and cast technically advanced solutions which improve a production on several levels. From enhancing sound quality through to augmenting dramatic effect, streamlining on-site communications, improving aesthetics and helping productions to be more profitable, technology can push the creative boundaries of sound design to new limits."
The show’s system centres around the Yamaha PM1D digital assignable console and incorporates some notable firsts such as Sennheiser’s miniature SK5012 wireless transmitters, the RTS Radiocomm BTR700 wireless intercom system, and eight of Meyer Sound’s MM4 loudspeakers. O’Hare explained: "I’d noted the use of the PMID on a number of musical productions and the recent software upgrades, particularly the Recall Safe mode, have further enhanced its performance. As we had so little time to prepare the show in the theatre, the off-line editing facility was particularly useful: we hooked it up to a laptop and edited scenes whilst rehearsals were in progress. The desk’s capacity to create multi-dimensional sound effect placement is also extraordinary and greatly increased the dramatic effect of certain scenes. In addition, the PM1D’s small footprint meant only half the number of seats had to be removed compared to a traditional analogue console." Orbital’s Drew Mollison and associate sound designer Crispian Covell were on hand to deal with the programming and installation and worked alongside O’Hare and the show’s operator, Jon Clarence.
My One And Only presents a particular challenge to the sound design team as one of the major song and dance routines, S’Wonderful, takes place in the sea off Staten Island. The two key actors end the number immersed in water, still singing, whilst the musical director conducts from under an umbrella and the front row of the stalls are issued with plastic raincoats. Tracey Campbell, the show’s wireless microphone supervisor, overcame the problem by protecting the transmitter packs with self-sealing plastic bags and unlubricated condoms. The Countryman B3 microphone heads withstand their nightly soaking without any further protection. The small size of the Sennheiser SK5012 transmitters has made them a favourite with the cast and they have proved extremely effective in use.
(Ruth Rossington)
