The most testing production for Kümmel was Rigoletto, where more than 60 microphones were in use. As previously, he took a two-level approach to the console setup - one level was used for inputs and outputs that did not change during the festival (including feeds to the stage manager, the interval bell and communication with the stage) with a second level dedicated to the various performances. These included, for example, the levels of singers' mics, the band and orchestra.
Together, v5 software for the mc²56 and Lawo's mxGUI software enabled Kümmel to access all the mixer parameters - including EQs and effects - from his laptop at different positions around the venue, including sitting in the grandstand for the soundcheck.
"During quiet passages, listeners should have to concentrate on the sound, sit on the edge of their seats and really get involved. The audience goes quiet and the music becomes somewhat mystical," he says of his approach to classical music production.
Kümmel regards his collaboration with rental partner Audio Broadcast Services (ABS) as excellent - although he used a different mc²56 console from last year, he found all the productions and setups ready to use or to build on." This is really a first-class service," he says.
He believes that the Schlossfestspiele was a successful festival, not least because the equipment involved was at its best: "The mc²56 worked perfectly from the beginning. Only small changes to the configuration were necessary, and they were made easily - Lawo's service was super responsive and they were implemented swiftly within half a day."
(Jim Evans)
