“That’s another 66-odd speakers. We’re very pleased not to have to provide extra processing for these speakers; we can do everything we need within the console.”
In addition to the plethora of onboard effects, reverbs, dynamic EQ, and the two onboard engines available within the SD7T, Arditti cited numerous other features that have been a boon to the production process.
“We like the big new touch screens, the Digi-TuBe drives, the crosspoint delay matrix, and the new quiet fans in the audio engine… this is theatre after all, not rock and roll!”
“We very much like the integration of the cue editor within the console software as it makes programming much quicker. We like the new macro procedure, which makes it much easier to produce usable macros.”
“We have also been able to dispense with a number of external A/B mic input switches, as we can now switch between a performer’s main wireless mic and the backup from the smart keys.”
“Masque has been particularly helpful with regard to the custom buttons we have installed on the surfaces. We have a set of four buttons drilled into the SD7T surface near the control groups, which cue sound effects.”
“Another set of four buttons provide backup to the MD’s control in the orchestra pit for music playback. Both sets of buttons are duplicated on the expander surface.”
“There is also a big red button for DME mute. I’m glad to say that there is just about enough space on the SD7T’s metalwork for all these custom additions, and the people at Masque are peerless at this kind of problem solving. They understand the ergonomics of operating a complex show reliably, and their custom work is always well-thought-out, and professionally executed.”
Arditti has been extremely pleased, too, with the overall sound of the mic inputs, both on the voices and the instruments, as well as the overall transparency of the console—even with 100 or more channels live at once.
“This is a very difficult show for vocal clarity,” he added, “because of the small voices of the children, the unfamiliar ‘Geordie’ English accents, and the brassy arrangements. Providing the actors and musicians give us a good quality input, the SD7T has no problem in reproducing all the audio to high volume levels with crystal clarity.”
In addition, the use of the SD8 in the band pit, has allowed Arditti to eliminate mic splits, and the gain tracking between the SD7T and SD8 also helped to speed up building their front of house and band monitoring balances.
But perhaps the biggest impact the console has had on the production’s ‘bottom line’ has been its efficiently compact footprint. “Every seat of space taken up by the sound console can represent hundreds of thousands of dollars over the lifetime of a show,” he emphasized. “The SD7T is an incredibly compact package, and therefore, we have been able to reduce our front-of house footprint by about 30% by cutting outboard equipment.”