"Radio microphone and miniature microphone technology in particular has had a huge impact on musical theatre," says sound designer Mick Potter, who specified the DPA mics, having used them extensively on all his sound designs since Saturday Night Fever in 1998. "The amount of frequencies now available for reliable use means miking all performers in a cast of 30 or 40 is no longer an issue. Transmitters are so small that on this production, female cast members wear them in their wigs, meaning no visible cable or transmitter packs at all. This is combined with the 4061 miniature microphone, which easily sounds as good as any average large diaphragm condenser microphone, and can be placed invisibly in the hairline and still achieve a great sound with good rejection."
Adds Tim Clark, associate sound designer, "One of the main differences between the new and original productions as regards sound is the level of control which we have over the sources. The show has definite 'rock' moments, but these often have to be sensitive to the onstage action. The open and natural sound of the DPAs means that extreme dynamic adjustments are as transparent as possible."
Each of the thirty cast members wears a 4061, with the five principal characters wearing two each. The strings each have a 4061 mounted near the bridge of their instruments as well as a 4011 cardioid each for ambience. Brass and woodwind all have DPA 4022 compact mics, the percussion setup is miked using a combination of 4007 high SPL mics, 4011s and 4091 omnis, and we have 4061s, 4011s, 4022s and a 4007 on the drum kit.
(Jim Evans)
