One of the Germany’s biggest theatrical productions, Jud Süß in Worms ran through June and July for an audience of 2,000 people each night. At FOH, sound engineer Joerg Grünsfelder managed the Dolby 5.1 surround-sound production using a Midas Pro6 system.
The outdoor production was staged in the shadow of Worms Cathedral: ‘I use Midas consoles primarily because of the sound and their phenomenal cross-fade option, which allows me to create simple global crossfades and also very complex fades by using unique cross-fade-groups,’ says Grünsfelder. ‘My Pro6 is the only console that does justice to the sound of such a high-end production. It sounds like an analogue board, but with all the digital features that this production requires.’
The production requires 56 channel inputs, which includes 32 wireless microphones for the cast, 17 channels for its band, seven for orchestra of piano, violin, double bass, percussion, guitars and brass instruments, and seven channels of Qlab – six to fire the 5.1 sounds and one channel to create the TTA Stagetracker movements. The aux returns are reserved for internal effects: three DN780 reverbs and a stereo delay. No external effects are being used for the production. ‘I like to work with the built-in DN780 reverb,’ says Grünsfelder. ‘I’ve created several presets, from long dense halls to short rooms. Every scene needs its unique character of reverb or delay. By changing the scene, the sound I want is immediately created without a long loading time.’
He used the Pro6’s VCA groups for the most important channels – female actors, male actors, instruments and so on. He also used the POPulation Groups to bring together all the actors for each scene. ‘Using the ‘Automate Paging’ preference, it was fantastic that the VCA or POP Group I needed came in front of me after recalling the scenes,’ he says. ‘This feature automates the whole desk.
Grünsfelder also relied on the Pro6’s automation: ‘I have 250 cues in the show, which are totally automated, and I was able to program them before rehearsals started using the Pro6 Offline Editor,’ he says. ‘Sometimes I have 24 wireless mics at the same time. The Pro6 also controls our brand new Stagetracker system, which runs 32 mics with GPS tags on stage. Stagetracker creates the impression that amplified vocals actually originate from the actors in real time. It’s safe to say my Pro6 looks like a robot. All the faders, aux sends and returns run the whole show every night.’
All audio and video equipment including the Pro6 was provided by German rental company Medienpark Vision from Worms, using an LR loudspeaker configuration with three groups of close fills (left centre right). Grünsfelder placed speakers around the audience for surround sound effects, reverb and delays. ‘In the mix, I programmed 120 Midi events for sound effects and music,’ he says. ‘The Pro6 works as my Midi master to fire audio events out of QLab.’
The show’s director, Dr Dieter Wedel, also has high praise for the sound quality the Pro6 has made possible for his production. ‘The best sound ever,’ says the director. ‘I have no other words than that.’
‘My productions make you think and feel you are in a real movie,’ Grünsfelder adds. ‘The audience is positioned right in the middle of the band, the show or the effect, and therefore the sound quality is of the highest importance. It’s Midas every time.’
More: www.midasconsoles.com
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