Now being staged in New York’s Nederlander Theatre, Honeymoon in Vegas brings the sunshine and excess of the original Sin City to the stage. Adapted by Andrew Bergman from his 1992 movie – complete with its original score – the show has gathered rave reviews before opening on Broadway.
As part of the sound set-up, Out Board’s TiMax spatial location was specified by co-sound designer Scott Lehrer to provide signal distribution and delay-based on-stage localisation. Lehrer and associate Will Pickens chose a TiMax Madi-64 interface in order to integrate two TiMax2 SoundHub-S48 showcontrol delay-matrix systems into a Madi distribution system. This delivers radio mic feeds to the system’s amplifiers via Andiamo AES/Madi matrix converter boxes, and also provides instant patching and monitoring of receiver signals at mic handler Lucas Indelicato’s workstation below stage.
The main PA uses a DiGiCo SD7T for FOH mixing, with a combination of d&b audio technik C7 loudspeakers for LR, with V8/V12 boxes for centre, and Q1 and Q7 boxes for delays and fill. Under-balcony and surrounds use the ubiquitous combination of d&b E6, E6 and E0 cabinets. The system is driven by d&b D12 and D6 amplifiers. All audio equipment was supplied by Sound Associates.
As well as onstage vocal localization, Lehrer and his fellow sound designer Drew Levy were keen to provide properly time- and location-related amplification for the orchestra located deep upstage. To this end, three d&b Q1 boxes were placed in structures upstage, and two E12s located similarly midstage. FOH engineer Kurt Fisher could ride the levels between main band mix level and upstage level to maintain balance and imaging. The TiMax Soundhub also allowed them to separate different orchestra elements and feed them into these mixes with slightly varied levels and delay-matrix timings relative to their locations.
Honeymoon in Vegas is one of two new Broadway shows for which Lehrer has selected TiMax. He and Levy have previously used another theatre-stalwart DSP processor, ‘which served us well, although it wasn’t designed for that purpose. We’ve been stretching the limits of the device for a while. TiMax works better, especially in terms of the time relationship with the orchestra. We broke the orchestra down to left, center, and right locations, and also strings, reeds, brass, piano, rhythm, and drums, and sends separate inputs from each of them to TiMax, and then specific amounts of each, as needed, to the speakers on stage. We were able to set different balances of each group of instruments by location, and could set the time and level of each group.’
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