The production, adapted from the Francis Ford Coppola’s 1986 film, is significantly enhanced by Rick Clarke’s sound design, which sees Level Control Systems’ Matrix 3 audio mixing/processing engine used for the first time in a West End musical. Supplied by Orbital (from UK distributor The Sound Dept), the system features LCS’ VRAS technology - the most recent development in electroacoustic enhancement of architectural spaces.
This consists of an electro-acoustic processing system built around a network of microphones feeding into multi-channel digital reverberators, and out again to loudspeakers. Clarke’s goal at the Shaftesbury Theatre was to take an acoustically ‘dead’ room and make it come alive on a cue-by-cue basis. He says that while system is complex, he has managed to exceed his original ideas: "I’ve always wanted a reverb system that replicates how real reverb works," says Clarke, "i.e. with the room speaking back - and not simply adding reverb sounds into the FOH mix . . . I have some very happy performers who get that oh-so-important confirmation that their voice went out to the room - and has come back. The VRAS adds a whole new dimension to the reverb - a real and emotional quality."
At the Shaftesbury Theatre, the set up comprises three Matrix 3 LX-300 frames - the modular ‘engine’ of the system, complete with plug-in cards - a controlling computer, screen monitor and a CueMixer, a compact control surface for Matrix 3. Of the three frames, one is dedicated to the VRAS system and the other two spin sound, with various input and output modules. Some of the output channels and MIDI from the desk are routed into the LX300 frames, and as well as performing eq, delay, matrixing, and external playback cues, Matrix 3 offers multi-channel panning via the SpaceMap feature from its CueStation control software. The flexible SpaceMap allows designs can be configured on an individual basis and in relation to the available acoustic space. Clarke says: "Using Space Map it’s possible to achieve a multi-speaker pan at any timecode point almost instantly. LCS certainly further augments the potential of sound design across many applications, but particularly in a Grade 2 listed building, where the acoustics are implicitly challenging."
The LCS Matrix 3 can replace a traditional FOH desk, systems EQ, delay and other digital matrices into a compact single modular system. Used at capacity, it replaces the need for ancillary equipment, reducing the FOH control footprint. At its limit, the LCS Matrix 3 can handle an extraordinary 400 inputs and 512 outputs.
