Sound design for the production is by Gregory Clarke whose credits include Equus on Broadway for which he won a Tony Award for Best Sound Design in a play and he received the New York Drama Desk Award for Outstanding Sound Design for Journey's End.
It's not the first time Clarke has used the AXYS loudspeakers on a show, his first experience of them was on Misterman at the National Theatre earlier this year. When asked for a quote on how the units performed on Misterman, his reply was "the rig sounded utterly fantastic" - which is why he chose to use them again when Goodnight Mr Tom went into the Phoenix theatre.
"After a great experience with the AXYS loudspeakers on Misterman at the National early this year I decided to use them again on this production when it came into the West End. The proscenium system is made up of six AXYS Scope T2115 with another two AXYS Scope T2112 as a centre cluster. The transparency and clarity of the boxes is unbelievable. One of the amazing things about them is you put them up in the air and point them at the audience and they sound great out of the box. That said when you do need to apply EQ even the most subtle of changes can be heard."
Sound equipment for the production is supplied by Stage Sound Services. Phil Hurley, the company's MD and founder explains the rationale behind investing in AXYS "We were the first rental company in the world to invest in the AXYS G2 loudspeakers. At the time I said that I thought these loudspeakers would become a new standard within the theatre market and were now starting to see more and more designers specifying them."
The AXYS T2112 & T2115 loudspeakers are both full range three- way loudspeakers with built in amplification and DSP.
(Jim Evans)
