tube Invests in new Sennheiser D6000 System
- Details
As the set-up evolved in discussions with Daniel, well known for his work in the world of films and sonic art and performance, Melvyn ordered the 12 beltpack transmitters and six D6000 dual receivers complete with all their infrastructure which he describes as “revolutionary” in terms of technology.
They were used on this production in conjunction with DPA4061 mic heads which were attached to the 10 performers. tube’s radio mic and RF tech for the show was Liam McShane.
“Intermods and intermod spacing have long been issues in all types of live audio scenarios” explained Melvyn, “so this really is a ground-breaking development for Sennheiser to make this available in their 6000 range. Transmitters can be placed exactly where they are needed, and we can now fit 21 transmitters into the same TV channel frequency space, that would previously only support 10 or 12”.”
Converting the signal immediately to digital in the transmitter also enhances the overall quality and texture of the sound – particularly noticeable in spoken work scenarios. It removes the need to apply any compression technology, broadcasting full bandwidth audio from the mic into the receiver and throughout the rest of the system.
The D6000 also runs on rechargeable batteries. Melvyn reckons that tube consumes approximately 15,000 standard batteries a year running radio systems, so this will be hugely more environmentally conscious as well as cost-efficient.
What if Women Ruled The World was the first time that tube has worked in the Mayfield depot, which has been a regular venue for the constantly growing biennial MIF event since at least 2013, and remains otherwise unused.
Daniel Meir mixed the soundscape and effects, while tube’s Martin Wallace took care of all the mic mixing and integrating the two sonic elements – vocals and surround sound effects – using a Yamaha CL5 mixing console. This was running over Dante and fully integrated with the Sennheiser D6000 system.
The loudspeakers and amplifiers were all d&b, running AES digital links straight to the amps to keep the signal digital.
Twelve d&b Y8 elements in a left-centre-right configuration were flown in front of the seating tribune, with a rear surround ring of E8s, plus E6 front-fills, all run off d&b D80 amps. Under the stage one B2 and two Y-SUBs provided some serious low frequency atmospherics.
Along the long, shadowy entrance area were four E8s either side on scaff poles and four Y-SUBS a side on the floor, creating a sinister surround experience as the audience entered the space.
(Jim Evans)
