[ATTACH=CONFIG]195357.vB5-legacyid=3564[/ATTACH]THE PHANTOM OF THE OPERA MADE ITS GRAND PERFORMANCE in Indonesia in February and March after touring the world for the last ten years and setting the world’s weekly box office record.
The Phantom of the Opera is the first international musical production Jakarta has seen in a long time. Produced by the Joyce Agency Of New York City and promoted by Big Daddy Entertainment, the show was staged at the intimate Nusa Indah Theatre Hall and was reinforced by a Turbosound Flex Array sound system supplied by Indonesia’s biggest audio rental company, Sumber Ria.
Turbosound’s Flex Array met all of the production needs, including sound quality, efficiency and multiple configuration capability, necessary to qualify for the project. The TFA-600H three-way mid-high provides high SPL with moderate amplification, and has a small visual footprint which worked well for this event.
[ATTACH=CONFIG]195358.vB5-legacyid=3565[/ATTACH]According to Paul Schmidt of Entertainment Engineering, the design engineer and production FOH engineer, the show presented several production challenges which Sumber Ria made an exceptional job of overcoming. “As Indonesia had never had a show of this type before it was a big learning curve for all involved,” admits Schmidt as he explains the intricately detailed audio configuration.
“The system was designed in a 7.1 configuration, and comprised of 112 inputs on stage, orchestra and house microphones, as well as all the miscellaneous inputs. In total there were 22 head-worn E6 mics with 24 channels of wireless beltpacks worn by the performers, and for the orchestra and miscellaneous needs, about 15 SM57s, 30 AKG D40s, 2 SM81s and a few others here and there.”
The main FOH left-centre-right speaker system was all Turbosound: eight TFA-600H Flex Array mid/highs and four TFA-600L Flex Array subs for left main PA, the same configuration for right main PA, and six TFA-600H Flex Array mid/highs in the centre. Four TSW-218 double 18″ subwoofers provided the low frequencies.
[ATTACH=CONFIG]195359.vB5-legacyid=3566[/ATTACH]When it came to rigging the PA it turned out that the roof couldn’t support more than 500kg per point, which ruled out suspending from it, and so a ground support system was devised. “The entire grid system over the stage was an amazing feat to say the least,” says Schmidt. “I really don’t think I can truly reflect in words the amount of work the locals did to make this happen – they were without a doubt some of the hardest working people I have ever had the pleasure of working with!”
“Turbosound was perfect for this application and room size,” he confirms. “I never had a single complaint, and only got the thumbs up every night. I enjoyed mixing on the Turbosound rig and would do it again any time. I’m a long time Turbosound user, so I know what it has always done in the past and you guys continue to amaze me with new products. When the Turbosound gear showed up on the dock and the audio contractor asked me if it would do… all I could do was smile and motion them in to the lift!”
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