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Disney’s Aladdin Premieres with TTA


The European premiere of Disney’s Aladdin: The New Stage Musical opened in the Fredericia Theatre in Denmark on 4 October.

The Fredericia is one of only five theatres worldwide and the only venue in Europe to be selected as a Disney partner. Demand has been so high that the initial run was extended until 25 November.
 
Unsurprisingly, Aladdin is the biggest production that has ever been staged at the Fredericia theatre, so theatre director, Søren Møller, had no hesitation in turning to Lars Frederiksen from TTA distributor and audio solutions provider, Alfa Audio, to supply both equipment and expertise on all aspects of the sound production. One of the key elements provided by Alfa Audio was a TTA Stagetracker FX system complete with QLab show control software to manage all of the sound effects for the show.

The Fredericia’s sound designer, Tim Andreasen, worked closely with long-time collaborator, Lars Frederiksen from Alfa Audio, to design an extremely sophisticated system using state-of-the-art equipment, including the Stagetracker FX system which, on this occasion, is used exclusively to handle sound effects.
 
“I’m using the Stagetracker FX matrix for panning different sound effects in full surround sound, running within QLab,” explained Andreasen.

“I’ve got a multi-channel matrix, so I can have up to six different sounds moving around at once. I have some scenes where sounds emanate from the back of the venue and then move forward in real time. In order to create this, all I have to do is simply draw a line in QLab of where I want the sound to go, and that’s it. Without Stagetracker FX, it would be a really complicated operation - I’d have to create a surround WAV file, save it, and then transfer it onto a different system in order to manipulate it to create the effect I want. Using Stagetracker FX within QLab I can design the movements in real time and then press 'save' when I’m happy with the results. I can create sound effects that fly around the room in no time at all, and the extra spaciousness it adds to the effects sounds wonderful. It’s an extremely powerful tool that I am looking forward to using on other productions.
 
“I’m also eager to try out the performer tracking on a production that is more acoustic and less concert sound-based than Aladdin,” he added. “If it’s as easy to implement and as effective as the matrix is for sound effects, I can’t wait to hear the results on the right production”
 
www.tta-sound.com

 

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