Sixteen actors wore miniature UWB TiMax Tracker (TT) transmitter Tags which were tracked by six TT Sensors installed around the stage and the auditorium. The TiMax Tracker software used an automatic calibration routine to instantaneously map the stage area in three dimensions based on some simple measured sensors location data. Thereafter the system followed the actors' movements around stage and sent this information via MIDI to the TiMax2 SoundHub matrix.
Delay-matrix settings were programmed into the TiMax2 SoundHub matrix for eight localisation zones covering areas downstage-left, centre, right, midstage-left and -right, upstage-centre plus two far upstage zones, which were used to focus a quickfire vocal-duelling number at the top of the show. The TiMax matrix interpreted the tracking information and applied proprietary smooth-panning delay crossfade algorithms between each Shure wireless radio-mic signal and every PA speaker to move the performers' audio images around stage in realtime.
Soundcraft Vi6 channel direct-outs were fed to the TiMax2 SoundHub via optical MADI, with a separate MADI link supplying a Pyramix record feed to provide a virtual sound-check resource once the cast had left the stage. The TiMax outputs then fed the distributed d&b onstage and front-of-house PA system with all system EQ and trim being done in TiMax using a wireless remote tablet PC.
Three hangs of two d&b Q1's each with a Q7 down-fill hung about 5m in front of the proscenium, fanned out to each cover a separate audience areas with no overlaps. Four E0-fills covered the front rows and a pair of Kling&Freitag delays hung under the balcony. Left and right Q1/Q7 ground stacks with Q-Subs on the stage wings were used for the band mix.
The particular Les Miserables speciality was to use further Q7's flown upstage as combined stage monitoring and first wavefront reinforcement systems on which to focus the front of house localisation delays. Two rows of three front-facing Q7's above actors' heads supported their the acoustic output, and with the help real-time cross-stage level profiling in TiMax, provided dynamically moving amplified sources to anchor the Tracker-driven vocal localisation delays above the relatively high-energy band mix.
Out Board's TiMax distributor for Switzerland Bleuel Electronic AG supplied the TiMax2 and Tracker rental equipment. Additional sound design and programming support was supplied by Out Board's Robin Whittaker. Director Gerard Demierre remarked, "The realism and dramatic impact of the vocals were outstanding and made a big difference."
(Jim Evans)
