The show is above all a rock show, with the band constantly moving on the stage amidst the high-pace action. Sound operator Julie Randolph explains some of the musical challenges involved: "It's a loud show, but the acoustic image is constantly changing because the band moves all over the stage. There are two drum kits on turtles, which are capable of rotating 720 degrees. Several actors play instruments in the show, and all of the pit band make appearances on stage throughout the show. Steve always uses excellent equipment throughout the chain. We're not trying to pretend that this show isn't miked - we're just presenting an accurate sonic picture of what the talent is doing up there, because what they're doing is pretty amazing."
In designing the show, the theatre itself provided certain challenges, particularly with regard to speaker placements. Built in 1925, the August Wilson Theatre has a very low overhang from the balcony, with seats at the back sold as having an obstructed view. At FOH, the J-Type comprises a main frame and side car, which is positioned up on end for space considerations - a bonus from Randolph's point of view, as it makes everything easily accessible. In addition, the system includes Cadac's M16 Remote Controlled Microphone Amplifiers as an effective means of overcoming the tremendous cable runs involved. There is around an extra 150 feet of cable in the regular runs to accommodate the turtles and other moving platforms.
Randolph says: "The M16s are tremendous, with the remote control unit giving us real flexibility to monitor inputs and make changes at FOH. Best of all, the Cadac pre amps sound amazing - they are simply the best out there. What I like about the J-Type - besides the fact that it's a great sounding board - are things that you tend to take for granted, until you work with another console that doesn't have the same features; like fader open indicator lights, a really responsive EQ, the meters so you can see exactly what's happening with signal flow throughout the console. Plus it has headroom for days and plenty of outputs."
The latest news from Cadac Electronics plc revolves around the launch of its new S-Digital mixing console at the PLASA 2006 exhibition, marking the company's first full-scale digital console. The Cadac S-Digital is designed primarily for live theatre applications, building on the company's 20-year history at the forefront of theatre sound. In a major departure from conventional paradigms in digital console design, the S-Digital is specifically conceived to reflect the surface architecture of Cadac's industry standard J-Type analogue console, as specified on Jersey Boys. The S-Digital combines the instant usability and familiarity of an analogue console with the acclaimed build quality, sound, ease of operation, reliability and unequalled return on investment that are the Cadac hallmarks. It therefore offers sound designers, producers and theatre owners a credible digital alternative to the Cadac J-Type analogue console, and sets a new benchmark in digital console design for live sound applications. The Cadac S-Digital entered production in October 2006.
(Chris Henry)
