A Digico SD7T is being used to mix the West End musical Ghost, an adaptation of the 1990 film.
With the show combining live acting and music with complex lighting, video and special effects, a Digico SD7T was specified for FOH by sound designer Bobby Aitken.
Working closely with associate Simon King and Ghost’s head of sound, Ben Evans, Bobby designed a system that had to work very closely with the other production disciplines.
“The SD7 is more of a production hub than just an audio mixer on this show,” he said. “It does so much. Of course it mixes the band, the vocals and audio streams from various playback machines, but it also serves as the timing and synchronisation hub for the entire production.
He continued, “Because it is such a technically complex show, with video forming many of the set elements, the band, video and lighting have to be locked together. We use Ableton Live as a kind of ‘master lock’. It is started at the beginning of every song and produces a click track that the band plays with. It also provides additional audio playback and, importantly, SMPTE and MIDI time code, which we then put out to the video and lighting guys for synchronising parts of their production with the show. Everything basically comes through the SD7T. We also use the code to start many of the “non-orchestral” audio files.
“The mixer is very deeply programmed; all in all we use about 110 stereo inputs, 28 stereo aux busses and 32 matrix outs. We step through 170 snapshots in the course of the show.”
Additionally, a DiGiCo DS-00 is located sub-stage that feeds a personal monitor mixer for each musician, allowing them to handle their own 16 channel mix. There are about 60 cues on the DS-00, which are fired from MIDI commands from the SD7T. “The DS-00 is basically unmanned, it’s pre-programmed and just gets on with it,” said Aitken.
To accommodate the slight changes and differences that are part of live performance, certain effects need to be fired manually. The SD7T allows this combination of technical and human elements to co-exist.
But despite all the automation and technology, it is still a live show with a 25-strong cast, so the SD7T has a significant number of microphone inputs.
“All the cast wear radio mics, a lot of them wear two. We mic them in the traditional theatre way, with miniature mics in the hairline so they are invisible to the audience,” Aitken stated “Radio microphones are still the most important single element in my work. We chose Sennheiser because they are the industry standard.
“Multi channel radio installations are still a complex beast, especially in the West End where there must be well over 100 channels operating within a square mile. The radio receiver rack is sub-stage. Lauren Coull or Poppy Ballon (sound # 2 and 3) monitor it throughout the show, but we also have touch screens around the sides of the stage. If we hear an RF issue with somebody’s mic we can confirm the problem by auditioning the currently live transmitters, identifying the channel and swapping it out when they come off stage.”