The arrayable 3-way compact theatre enclosures were supplied with the appropriate flying frames and DX1 system controllers, and are deployed equally across both productions.
Having heard W3 and WT3 some time earlier Rawling was convinced of their suitability for theatre shows and set up a demo. "The WT3s have proved outstanding with both the producers and musical supervisor," he said.
The first batch of WT3s were purchased for Boogie Nights. "Since we are playing theatres ranging from 600 to 1,800 capacities line array was not an option. I needed a really punchy vocal sound which the WT3 delivers; it is also extremely flexible, allowing us to either fly or ground-stack the system depending on circumstances," said Rawling.
He had been asked to design sound for Hot Flush at just two weeks' notice. "We actually changed to the WT3s just after the show opened primarily because of the incredibly high noise levels generated from the positive audience reaction and we decided that the song lyrics in particular would benefit from the clarity of the WT3s. Martin Audio were magnificent, building and delivering the WT3s in just four days - I can't imagine another company that could have done that."
The systems are configured as eight WT3's, four WT2s and a pair of S218 subs - plus front-fills. "Whether flown or stacked is completely dictated by the facilities in each venue but with the exception of very small theatres there are always a pair of WT3s per side stacked on a single S218; this gives good power and throw plus coupling to the sub bass which helps to provide a full band sound.
The other relevant factor is that both shows relocate on a weekly basis, necessitating an 8.00am get-in on Monday morning. "With the first performance at 7.30pm the same night a system that is quick to install and is constantly reliable is essential," he says.
(Jim Evans)
