In order to accommodate the complexities of this acclaimed production of Lion, Orbital worked closely with sound designer Scott Myers at all levels to help augment his initial sound design, first created three years ago for the show’s original run at the RSC.
Orbital has invested in the revolutionary new Yamaha PM1D as a world first to operate as the FOH theatre desk. The potential of this desk as part of Orbital’s extensive inventory is set to dramatically change sound design in theatre for both complex sound effects plays and larger musicals.
As Scott Myers explained: "The facilities on the PM1D will enable me to do complex operations simultaneously such as various changes in orchestra colours, quickly yet subtly, difficult changes in foldback mixes, and multi-dimensional sound effect placement. This should allow me to give the audience a first-rate theatrical experience."
From the show’s inception, Myers and Orbital’s head of production, Andy Robinson, have engineered detailed CAD schematics and produced a new systems design, breaking new ground by way of the use of the PM1D. Orbital’s in-house editing suite has proved especially useful on Lion. Working closely with Pro-Tools expert Sebastian Frost, Scott Myers found that the company’s vast library of sound effects has enabled him to improve on certain original sound cues. It has also proved an excellent source for creating the new cues that have been requested, such as the supernatural howl when Peter stabs Maughrim.
Orbital’s technical support team of Drew Mollison and Tim Sheratt, who have both been in consultation with Yamaha R&D in the development stages, are combining their expertise and embracing the new challenges that this desk has introduced. As Drew Mollison explained: "Although the pre-programming is complex, there is no doubt that the capacity of the PM1D is set to change the conventional approach to pre-production and will set a precedent for the future. For The Lion, the Witch and the Wardrobe, we are accommodating 28 cast members and a 14-piece orchestra by way of 108 sources through 96 inputs. This includes 28 radio mics and 41 orchestra channels, and at least 16 effects inputs. With 24 Matrix outputs and 14 additional outputs driving the surround system, as well as numerous auxiliaries, this is a tremendous exercise in embracing new technology."
