Angels in America |
Position: Sound Designer
Composer: Curtis Craig / Assc. Designer: Jonathan Langberg Location: Penn State Playhouse Theater Date: 2/25/2020-3/5/2020 (Junior Year) |
Penn State took on a massive production in the full realization of Angels in America Part 1: Millennium Approaches. The sound team for this production included myself as the sound designer, Curtis Craig as the composer, Jonathan Langberg as my associate designer, a Qlab operator, a console operator, and an A2/Electrics swing. My role in this production was primarily in the realization of Curtis's compositions and designing a unique vocal re-enforcement system. In creating the world of this play, I wanted to make the abilities of the sound design team endless. Since I was also in pre-production for Spamalot, I handed a lot of the drafting and small details to my associate.
The system for the production can be split into multiple elements: the first is the playback system consisting of redundant computers running Qlab utilizing 60 matrixed outputs. Second is the vocal re-enforcement system consisting of 12 Shure ULXDs, area mics, and controlled with a Digico SD9. The reinforcement system also integrated with a fully programmable and redundant Mainstage rig to effect the voice and make it possible to map it to any combination of speakers. The speaker system included 42 loudspeakers almost all fed by uniquely addressable outputs. With this, the Digico SD9 was maxed out in terms of inputs and physical outputs. To allow the output flexibility needed for this production, a complicated routing matrix was created essentially operating in a MADI ring. The routing backbone primarily took place in a Waves MGB and several Metric Halo units located around the theater to manage outputs.
The speaker system included an overstage line of 5 d&b T10s that operated as a delay/amplitude vocal imaging system for the reinforcement system. This was then mirrored for a delay system on the FOH truss for the remainder of the audience. The primary music system consisted of 2 Meyer MSLs and USWs along the back wall. Since these were hidden behind many layers of scenery, two delay systems were added (that could also be addressable independently) both over the stage (2x d&b Q10s) and on the FOH truss (3x Meyer UPAs). A small FF system consisting of 4 Meyer MM4s was spaced across the apron. The surround system included of 2 d&b E0s for pit seating, 4 Meyer UPJs acting as LR surrounds for the main audience, 6 JBL Cabaret speakers for rear and upper surrounds, and lastly 2 Meyer UPMs acted as upper surrounds over the pit seating. Two d&b Q7s were placed in the cavern above the audience creating a natural "echo chamber" like effect particularly helpful in making the angel envelope the audience. Finally the sub system was comprised of two EV subs on the LR tower and two double EV subs placed in the catwalks above the audience to quite literally shake the ceiling.
The system for the production can be split into multiple elements: the first is the playback system consisting of redundant computers running Qlab utilizing 60 matrixed outputs. Second is the vocal re-enforcement system consisting of 12 Shure ULXDs, area mics, and controlled with a Digico SD9. The reinforcement system also integrated with a fully programmable and redundant Mainstage rig to effect the voice and make it possible to map it to any combination of speakers. The speaker system included 42 loudspeakers almost all fed by uniquely addressable outputs. With this, the Digico SD9 was maxed out in terms of inputs and physical outputs. To allow the output flexibility needed for this production, a complicated routing matrix was created essentially operating in a MADI ring. The routing backbone primarily took place in a Waves MGB and several Metric Halo units located around the theater to manage outputs.
The speaker system included an overstage line of 5 d&b T10s that operated as a delay/amplitude vocal imaging system for the reinforcement system. This was then mirrored for a delay system on the FOH truss for the remainder of the audience. The primary music system consisted of 2 Meyer MSLs and USWs along the back wall. Since these were hidden behind many layers of scenery, two delay systems were added (that could also be addressable independently) both over the stage (2x d&b Q10s) and on the FOH truss (3x Meyer UPAs). A small FF system consisting of 4 Meyer MM4s was spaced across the apron. The surround system included of 2 d&b E0s for pit seating, 4 Meyer UPJs acting as LR surrounds for the main audience, 6 JBL Cabaret speakers for rear and upper surrounds, and lastly 2 Meyer UPMs acted as upper surrounds over the pit seating. Two d&b Q7s were placed in the cavern above the audience creating a natural "echo chamber" like effect particularly helpful in making the angel envelope the audience. Finally the sub system was comprised of two EV subs on the LR tower and two double EV subs placed in the catwalks above the audience to quite literally shake the ceiling.
Production Photos
Photos courtesy of sophiatepermeisterdesign.weebly.com
