“Terhal,” an immersive theatrical production by Dragone that celebrates the culture of Saudi Arabia and features acrobatics, stunts, aerial performance, and special effects alongside traditional art and dance, was supported by L-Acoustics L-ISA Immersive Hyperreal Sound technology to complement the visuals.
While the show run was temporary, the venue in Diriyah, housing the show is purpose-built and designed explicitly for “Terhal.” Delivering the large-scale production in the purpose-built venue within the allotted timeframe created a challenge for the sound team, which consisted of sound designer Sebastian Hammond, L-ISA engineer Adriaan van der Walt, and mix engineer Andy Tsang.
Having crafted immersive sound with L-ISA for projects like the opening and closing Ceremonies of Expo 2020 Dubai and Dragone’s “La Perle,” Hammond explains that Dragone shows are known for pushing the limits of audience experiences. “Although this was a temporary show, I wanted to deliver the complete residential theatre experience for the audience via the immersive sound design’s detail and live sound technology.
“When I shared my sound design for ‘Terhal,’ the team at L-Acoustics asked if we’d like to trial the upcoming L-ISA 3.0,” he continues. “I said yes because the new release gave us remarkably updated features, such as the FX Engine, which enables reactive movements and trajectories, and customizable controls for organic interactions between objects. The FX Engine can create dynamic soundscapes that move with the action on stage, creating an atmosphere of suspense and excitement to keep audiences on the edge of their seats.
“Additionally, it adds subtle details and spatial effects that help bring the world of Dragone’s immersive shows to life. These enhancements significantly improve the immersive audio experience at Terhal, allowing us to elevate the creative concept even further.”
van Der Walt adds: “The one thing that stood out for me was how well the room engine transformed the sonic landscape beyond the venue’s actual acoustics. It brought another dimension into the mix, creating so much more depth, which, with the help of the new FX Engine, could be automated to follow trajectories. Each object would then follow its path, as programmed from scene to scene.
“Andy Tsang and I quickly established a workflow between the Quantum7 and L-ISA, which streamlined the programming of this complex show. The DeskLink feature, which enables L-ISA control on the DiGiCo, helped us identify objects or groups which we wanted to map around the audience. Once placed in the correct space, Andy could then easily adjust the depth of each object, which in turn would push it into the Room Engine, either to blend in or be used to great effect.”
Weight restrictions were an additional consideration, leading Hammond to choose a combination of L-Acoustics K2, Kara II, and Kiva II. The main system, which needed to cover an audience area that extended almost 360 degrees around the central performance area, was provided by 10 main arrays of Kiva II, complemented by two arrays of K2 and four arrays of Kara II. Twenty-eight KS28 supplied low-end extension and extra power for sound effects. Eighteen 5XT placed around the stage-lip provided spatial front-fill while 20 Syva were placed around the walls for surround. The system was provided and installed by local L-Acoustics Certified Partner Clair Global.
“One of the most impactful moments of Terhal is a massive and intense sandstorm scene, which was a sensory overload in all the right ways,” Hammond says. “Music, sound effects, lights, and video all coming together created an impactful, unforgettable moment, and having L-ISA helped us raise the bar. This was a thrilling deployment of L-ISA technology, which gave us numerous imaging possibilities.
“I focused on creating a spatial experience that incorporates both sound effects and musical elements. The team and I were able to fully utilize the room engine, imaging, and movement capabilities of L-ISA 3.0 within the surround system,” he concludes.
L-Acoustics
