A contemporary theatre offering a bold and diverse programme of musicals, plays, new works, dance and opera, it community engagement, artist development and learning initiatives make Leicester’s Curve a model for 21st century theatre. A long-standing Autograph client whose wireless microphone usage was affected by the two UK Ofcom clearances that reduced the wireless frequency spectrum available to PMSE (Programme Making & Special Events) users, the theatre had been in conversation with the company since the second clearance phase.
‘Curve’s technical staff were interested to know what we were using in our own rental inventory and to get our opinions of the various alternatives,’ says Adam Broom, Autograph’s Project and Installations Manager. ‘They’d already used Sennheiser 6000 series on shows touring through the theatre and had become familiar with the Sennheiser systems based on other in-house stock as well as the 3000 series that had been in use for ten years. They requested a demo of other equipment to help narrow down what they wanted from a new system.’
Autograph has been at the forefront of wireless use in theatre for decades and of course that experience gives them the technical understanding that theatres and performance venues like Curve need to assist their choice. After the demo, they were able to not only make recommendations based on our their work, but also to create a bespoke configuration that matched Curve’s various applications.
‘We subsequently supplied 32 channels of Sennheiser’s Digital 6000-series, ready built into one 16-way and two eight-way racks, all complete with custom panel work for AES and analogue outputs plus data and antennae patching, plus internal power distribution on each,’ Broom continues. ‘Curve use several spaces within the building for performances and that configuration allows maximum flexibility for local or touring use without having to alter the racks at all - they are effectively three standalone plug-and-play wireless set-ups which can be used separately or in any combination.
‘We actually supplied the Dante-enabled version of the 6000-series receivers, plus a number of Cisco switchers, which gives the technicians the choice of using analogue, AES or Dante connections from the receivers depending on how they want to configure a specific show or event.
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The theatre also use a separate matrix mixer to route the AES feeds from the receivers to their DiGiCo consoles, which allows re-patching to be done digitally, even on the fly if necessary. The other advantage of the Dante option is that it enables Wavetool (a professional wireless monitoring and listening software) to show a whole range of real-time data for all systems on the network.’
The 6000-series’ use of reliable, rechargeable battery packs, whose status can be constantly monitored, is also a real winner – partly because it saves on disposable cells, but also because it is a greener and more sustainable way of powering bodypack transmitters that are in constant use.
‘We are really happy to be working with Sennheiser’s 6000 series system and are extremely pleased with how Autograph have delivered this project,’ says Dave Norton, Head of Sound & Video at Curve. ‘With the package Autograph were able to spec following a successful tender process it was great to be working with Adam and the team again.’
Based around the number of channels sacrificed with the 700MHz clearance, the specification of the replacement system had to satisfy a number of factors, namely the flexible nature of the work done at Curve with multiple venues, the different I/O options uses across those spaces and looking to the future – sustainability, using equipment retained from the Ofcom clearance and moving away from disposable batteries.
‘We have used Sennheiser at Curve since we opened and, once we took into consideration the familiar user interface of WSM, bodypack form and size with the SK6212 packs and incredible battery life it became an easy choice to stick with Sennheiser,’ he continues. ‘We were even able to use antenna distribution and cases from the old system to make a fully modular interchangeable working system across the spaces which fit into the brief.
‘Given Autograph’s impeccable reputation and expertise in this field it was such an easy project to fulfil. We were particularly happy with how the Control Rack was designed and managed – a way in which we could monitor and digitally switch receiver outputs to our DiGiCo rack from the Sound No.2 position – something in line with most large-scale touring shows that we see coming through our theatre.’
‘It’s always a pleasure working with Autograph,’ concludes Kevin Gwyther-Brown, Business Development Manger – UK, Pro Audio at Sennheiser. ‘They represent the Sennheiser brand extremely well and ensure their customers get the very best advice and a great end result, of which Curve is a perfect example.’
