They first commissioned the system from Optocore's UK distributors for use on the one-off musical Through The Door before Christmas, and were so delighted with the result that they have standardised on the system for this ongoing series of special productions.
Thames Audio's sound designer, James Tebb said: "We were aware of the limitations of Yamaha's AD+DA converters and knew that by replacing this, and the preamps, with Optocore the quality would be improved. But we had no idea to what extent. From the second we heard the first mic, we couldn't believe the difference to our AES outputs."
At the front end of their set-up is an LX4A-96k stage network device feeding the M7CL console - this is loaded with YG2/YS2 digital I/O interface cards running in Yamaha emulation mode. A DD32E Network I/O Device, with 32 AES ports and external word clock handle the AES returns, which are fed to XTA 448 processors, while a DD4ME Dual MADI/Video/Data Network Device provides a pair of MADI I/O feeds to redundant recording systems.
In addition, DD6ME network units allow communication via IP to other parts of the audio network - a feature which is becoming increasingly important with networked audio. It also allows remote control of the mobile studio.
This architecture also presented the digital solution for James Tebb, when designing the sound for the latest week-long show, Megan Mullaly & Supreme Music Program at London's Vaudeville Theatre.
"The producers [Neil Eckersley and Paul Spicer for Speckulation Entertainment] like to have recordings of the shows, which we mix down afterwards," he said. "Now we can deliver this simply and cost effectively."
In fact Thames Audio's mobile recording set up comprises two RME MADI HDSPe cards, with two Quad-Core MacPro's running the multi track recording software, Boom Recorder - providing an extremely workable solution for musicals of this type.
Thanks to Optocore's DD4ME recording has become a big plus, says James. "It's great to be able to multitrack the band and at the same time do virtual soundchecks, scene recall and double check your patching. It's the sheer simplicity of having MADI outputs that can go straight to Boom Recorder - allowing us to offer cost effective multi-tracks for the producer."
As to the auditorium sound, James Tebb says: "While people might turn their noses up at an M7 we now know how good the input stage is with Optocore."
(Jim Evans)
