With production harnessing cannons, pyro and lasers in a festival type 'Proms' atmosphere, it has taken all of FOH engineer Simon Honywill's expertise to keep the show's audio fidelity evolving with each generation of new technology.
Honywill is no stranger to Martin Audio proprietary line array platforms, introducing W8L Longbow systems to the Glastonbury Pyramid stage, and taking the new MLA (Multi-Cellular Loudspeaker Array) on tour with Jeff Wayne's War Of The Worlds.
Rigging the MLA at the Royal Albert Hall for the first time ever this month, he reports, "We've made a massive leap forward with the MLA ... the results were remarkable."
With MLA-certified systems engineer Mark Edwards loading in and setting up the system, the baton was then passed to Martin Audio's technical sales support, Nigel Meddemmen to act as de facto system engineer over the four-day stint at London's landmark concert hall. before the show went on tour.
At the RAH, the two front arrays comprised 16 element MLA hangs per side, with no down-fill enclosures, since the rig's trim height was 12.2m (from the lowest box) to accommodate the huge lighting rig. Side-hangs comprised of arrays of nine Martin Audio W8LM mini arrays, with a single W8LMD underneath to bring coverage down as far as possible; at the same time, a central sub-bass array of six WLX was recessed under the stage apron, which was electronically curved to optimise coverage.
Meddemmen conducted listening tests, walking the entire room to verify uniform sound balance. "The challenge was to try and match the warmth and smooth response of the MLA, a tricky task particularly on some of the operatic pieces with shrill soprano vocals which have a tendency to really show up deficiencies in the high frequency of a system."
He added "There are always subtle changes in the level at which the orchestra are playing and my role was to ensure that every member of the audience experienced the best possible sound regardless of where they were sitting, so I had to make subtle changes to level and EQ of some of the side and front fills. The MLA was essentially the reference, it didn't need to be touched."
The design software is critical in ensuring the best performance from the revolutionary MLA system. "The calculations were based on Simon's model of the slice through the venue, and with the advantages of the new Display 2.1 software, Ambrose [Thompson, Martin Audio Electroacoustic Engineer] was able to design a system, with the correct splay angles, to provide optimum response."
Summing up, Honywill said, "I wanted to put MLA in the Albert Hall to see what it could do on a fairly demanding show, where to get the sonic quality and level required by the promoters you can't afford for the system to be in any way obtrusive. The system has to sound really sweet when loud, warm and powerful - and intelligent and delicate at the same time. MLA was all of these things and more."
(Jim Evans)
