The music theatre WINTER by Cornelia Melian and GAMUT Inc. took place in the small Munich HochX Theatre. WINTER is physical music. Swinging basses and rhythms that dig deep into the pit of the stomach alternate with sounds that cut through the room like whips. In this soundscape everything can be modulated and no interval remains tonal on the other. Electro-acoustic sound textures, guitar sounds and alternative live playing and singing techniques create friction. Motif fragments of the song cycle are rewoven so that they unfold a hypnotic suction effect. And all this for little money.
Core piece was as so often with me the Software Audio Console by Bob Lentini. It can recall details of a setup instead of complete snapshots using a cue filter. Effects are integrated via VST plugins, which are also stored in the scenes. Altogether I have 72 inputs and outputs, which are processed by a PC without further DSP hardware. The complete mixing console is available via wireless remote in the whole theatre. All features that even the most expensive consoles often only have limited access to. The disadvantage is that you better be a PC nerd to get the thing running reliably. Which fortunately I am.
The stagebox comes from the Ingenieurbüro Frank Albert. It contains the same microphone preamplifier ICs using e.g. the RME Micstasy. It is connected via 4 ADAT paths (8 channels in selectable direction per path), which are combined and routed via a network cable. This can be up to 100m long and can be patched over in-house network cabling. The transmitter system also transmits midi, e.g. from a keyboarder on stage to a sampler on the mixing console.
The front sound system for the 150 people audience consisted of my two KS Audio CL208s, which fitted unobtrusively into the square trusses. In addition there was the active subwoofer with two 10″ CPD B long-throw chassis.
Four surround speakers on the ceiling in front and behind the audience provided immersive 3D sound.
Important for a good direction out of the stage were the L’Acoustics ARCS elements, which I placed behind the screen on the rear edge of the stage. Due to their very narrow sound radiation of 22.5°, I was able to aim through the portal without the sound remaining trapped in the stage house. These loudspeakers were my main system for natural vocal amplification.
Now watch the trailer of the piece: