Gareth Owen's design challenge was twofold, involving creating a system that could handle the score's huge dynamic range, while also delivering consistent results across the tour's many venues. These range from small, 600-seaters, up to theatres such as the Brighton Centre, one of the largest regional theatres in the UK, with over 4,000 seats.
Gareth Owen commented, "Midnight Tango is a very classy dance show, and depends as much on the score's dynamic impact as it does on its impressive choreography. I was interested in trying the T-series as a viable solution for the project, but was concerned that it might prove a bit too much of a compromise - perhaps not quite appropriate for the smallest venues, and not sufficiently capable of handling the largest theatres. But that concern was unfounded, at both extremes - the results are astonishing.
"The system is discreet enough for the small theatres, with plenty of coverage and power in hand for the biggest spaces on the tour, handling everything from the most precise detail of the quieter numbers to the shake-the-floor dramas - including a convincing thunderstorm - with equal success. We keep the same basic system, and simply augment it with a few extra cabinets for the larger theatres. With its overall flexibility, and consistency from venue to venue - in spite of the varied acoustics we're encountering - the T-Series is proving an ideal solution."
The main T-Series hangs are complemented by d&b audiotechnik's T-SUBs, as well as a Q-SUB array, and Owen is using a dual CSC3 sound-effects system with a total of 16 outputs. The show's six-piece band are all using wireless in-ear monitoring, controlled by Aviom personal headphone mixers in the wings, with DPA mics on many of the instruments. Gareth elected to use Shure's UHF-R wireless system for the first time, with the UR1M Micro-Bodypack Transmitters on several instruments, as well as the hand-helds.
"The noise floor, clarity and accuracy of these radios is impressive," says Owen, "and it's really good to have such a well integrated result. It's reducing the number of cables on stage and, via the remote monitoring software, it's easing the control task, as all the systems can be managed within one package."
The tour's sound design is using a mixture of Audio-Technica, Audix, Neumann and Shure microphones on the kit.
(Jim Evans)
