Spacemap Go was introduced only after Bergman’s sound design already was well underway, but going forward he expects to rethink dynamic sound possibilities from the outset. No one misses out and every show will feel slightly different, even from the same seat.” It’s been great to move around sounds like wind, reverbs, and solo instruments that otherwise would be static. “Some trajectories are doing slow circles around the audience while some randomly zig-zag. “The composer, Clemence Williams, and I have been loving the way we can run various trajectories throughout the show,” he says. The fact that you can control Spacemap Go from QLab via OSC made the an easy sell.”ĭavid Bergman, the sound designer for Playing Beatie Bow, was the first to leverage the power of the new technology, allocating up to 20 outputs from QLab as direct objects for Spacemap Go. You don’t want them to think too much about the system itself, so they can focus on their art and what they want to communicate with sound.
#Qlab milano full#
“I’m responsible for our sound designers have access to a system that will afford them full creative potential. “When Spacemap Go came along during this renewal project, it was exciting to have that added dimension,” says Lightowlers. In any configuration, sound designers report that they can easily leverage the spatial sound potentials of Spacemap Go. The flexibility and scalability of Spacemap Go enable the system to be easily reconfigured to accommodate the 420-seat Wharf 1 Theatre’s different seating configurations, including end-on, L-shape, and in-the-round, as well as sound effect source locations specific to a particular production. Systems were supplied by Soundcorp, a Diversified Co.
But they are also exceptional for music.” Applicability to worship space design "They are excellent for vocal clarity, which is paramount as the dialogue must be out front. "We were very impressed with the new ULTRA-X loudspeakers," Lightowlers notes. The system renewal was a logical extension of a decades-long relationship with Meyer Sound, he reports. When it opened in February, STC’s production of Playing Beatie Bow, based on a popular Australian children's novel, became one of the world’s first theatrical productions to use dynamic spatial effects provided by the new technology based on the GALAXY Network Platform utilizing Milan and a new iPad user interface.įor the Sydney Theatre Sound & Video Manager Ben Lightowlers, selection of the right solution was critical, so the venue chose to retain complete control of the PA budget, from specification all the way through to installation. The system was designed by Bob McCarthy and Josh Dorn-Fehrmann to implement Spacemap Go, Meyer Sound’s new tool for spatial sound design and live mixing.
#Qlab milano upgrade#
A highlight of the complete technical upgrade was the installation of 32 new Meyer Sound loudspeakers, largely drawn from the company’s new ULTRA-X series. (STC) reopened its home venue, The Wharf, at Walsh Bay in Sydney, Australia, following a two-year closure for a total renovation. employs a Meyer Sound-based audio solution with applicability to worship space design.
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