Denmark - The We Will Rock You musical is a massive worldwide success and, since opening in London in 2002, numerous versions have been staged in every corner of the globe.
For the most recent version in Denmark, sound designer and head of sound, Magnus Hansen, has made full use of the DiGiCo SD7 T console personalisation. This preparation work ensures the complex requirements of this high-octane show do not overwhelm his team and leaves space for creativity. The extensive console programming allows engineers the freedom and flexibility to get the most out of the show, night after night.
The new Danish translation of We Will Rock You opened in the Tivoli Concert Hall in Copenhagen ahead of a nationwide tour and is produced by Lion Entertainment. The DiGiCo SD7 T at front-of-house is accompanied by a Quantum 338 and KLANG at the monitor position, and SD7T in the redundant mix room, all supplied by DiGiCo dealer, Lydfabrikken.
The show is renowned for its fast-paced scenes, with over 20 Queen hits featured throughout. There are 20 people in the cast and five in the band, 20 IEM channels, 60 mic channels, wireless MIDI, wireless cameras, plus sound effects, mixing and timing of cues for the engineers to concentrate on. The band are located in two huge boxes that move around the stage, with musicians performing wirelessly. There are three show staff, Lukas Ockelmann, Oliver Svensson and Tobias Vohnsen, accompanied for the rehearsal period by Frank Grønbæk in the redundant mix room, Alistair Kerslake on monitors and supported by sound designer, Magnus Hansen.
By adding extended automation to the basic audio structure at FOH, the sound team have been able to refine the mix, delivering an enhanced experience for the audience and ensuring that FOH engineer Lukas Ockelmann is free to fully connect with the cast and band on stage. As Hansen explains, it is a system that has offered huge rewards for the team.
“We had just 11 days on location with full technical and creative support to assemble the whole show, including previews! We wanted to find a way to really use that time effectively, not just to prepare everything technically, but to maximise our creative time with the rest of the design team,” he says.
Having worked with Lion Productions for almost a decade, Hansen has developed a strong relationship with the rest of the team and was able to explain the benefit and efficacy of this new system.
“It is very important to understand that we are aiming for a high level of detail in the mix,” Hansen continues. “With this method, the whole backbone of the mix is programmed in. We can utilise the Snapshots to pre-programme tiny changes in reverbs, effects or dynamics, which means Lukas can really focus on riding the faders like an instrument, shaping the natural dynamics in real time.”
