Rick Clarke has been using the d&b audiotechnik T-Series since the system made its debut in 2009, based on the combination of the product's configuration flexibility and exceptional sound quality as a compact line array. A central element to Rick's approach for the new production was to preserve the power and vibrancy of the show's well-loved score, combined with a compact and versatile touring system suitable for the wide range of venues. He explains:
"My original designs were based around highly distributed point source systems that were precisely set up with time delays to achieve precedence for the actors on stage. On tour we had the luxury of a Sunday get in and Tuesday opening. That doesn't happen now so using line arrays, obviating delays and fewer rigging points speeds everything up. Using light, easy rigging speakers helps a lot and if these speakers deliver high quality sound, then we can deliver even on Monday get ins, opening on Monday."
In additon to the d&b T-10 loudspeakers, and a Yamaha PM-1D console, there are a total of 36 Shure UR1M transmitters and UR4D handling the radio duties, controlled via the Shure remote software to provide both operators with full radio monitoring at all times.
Orbital supplied the equipment in its standard "ready to roll" format, installed in the customised RacPac racking designed to accommodate touring demands for fast load-in/load-out and neat, efficient equipment maintenance.
Another custom element is Orbital's GUFF cabling system, which provides mains, analogue signal, video and cat5 down a single multi-core cable. This cabling system has proved to be indispensable during hectic fit-ups and get-outs, enabling instant connection of a range of devices to stage boxes and custom panels, across video cameras, CCTV monitors and individual monitor speakers.
The Orbital project team is headed up by Dan Bailey, supported by Simon Dawson as prep engineer working with Rick and his team - Matt Grounds and Stuart Moffatt.
(Jim Evans)
