The outdoor production, staged in the shadows of Worms Cathedral, tells the tale of great friendship between a duke and his adviser Joseph Süß in a moving drama based on love, hatred, prejudice, betrayal and an unprecedented judicial scandal.
"I use Midas consoles primarily because of the sound and their phenomenal cross-fade option, which allows me to create simple global cross fades and also very complex fades by using unique cross-fade-groups," says Grünsfelder. "My PRO6 is the only console that does justice to the sound of such a high end production. It sounds like an analogue board, but with all the digital features that this production requires."
The production uses a total of 56 channel Inputs, which includes 32 wireless microphones for the cast, 17 channels for band, seven for orchestra of piano, violin, double bass, percussion, guitars and brass instruments, and seven channels of QLab: six to fire the 5.1 sounds and one channel to create the TTA Stagetracker movements.
The aux returns are reserved for internal effects - three DN780 reverbs and a stereo delay. No external effects are being used for the production. "I like to work with the built in DN780 reverb," says Grünsfelder. "I've created several presets, from long dense halls to short rooms. Every scene needs its unique character of reverb or delay. By changing the scene, the sound I want is immediately created without a long loading time."
The 5.1 PA system is based on a left/right loudspeaker array with three groups of near-ills (left centreght). Grünsfelder placed speakers around the audience for surround sound effects, reverb and delays.
(Jim Evans)
