Wide News

International news highlights from the world of live sound, recording, broadcast, postproduction and A/V
 

The Oldest Boy

The Oldest Boy
Sarah Ruhl’s The Oldest Boy tells the story of Tenzin, the toddler son of an American woman and a Tibetan man who is the reincarnation of a high Buddhist teacher.

Designing the sound and the audio system to deliver it at its Lincoln Center Theater’s Mitzi E Newhouse Theater 3 premiere posed its own challenges to Sound Designer Darron L West and New Jersey-based theatrical sound specialist Masque Sound. The first was the design of the stage itself...

 

Yamaha AFC3 solves Riksteatret acoustic

Store Gull
Staging shows in 70 venues around Norway – to ensure that nobody has to travel for more than an hour to one of its productions – Norway’s national touring theatre develops and previews its productions in two venues at the Nydalen complex in Oslo.

Established in 1949, Riksteatret has its headquarters is in Oslo’s Nydalen district where the 300-seat Store Gull (Large Gold) and 120-seat Lille Gull (Little Gold) theatres host these productions. Formerly a television studio, Store Gull has a very dry acoustic response, the reverb time being as little as 0.56s – uncomfortable for both actors and audiences...

 

The Girl from Nagasaki

Burhan Ocal
Retelling Madama Butterfly for his directorial debut, celebrated photographer Michel Comte fared well at this year’s Sundance Film Festival with The Girl from Nagasaki. Telling the story of romance and loss through a Nagasaki survivor married to an American astronaut, the feature-length film won plaudits both for its visual style and structure and the work of sound designer Maurizio Argentieri.

The project pushed Argentieri’s skills and the capabilities of his DPA microphones to the limit.

 

La Mansión takes lead role on Brazil recording scene

La Mansión
A ground-up build by the Malvicino Design Group, La Mansión has become one of Mexico’s premier commercial recording facilities after making the move from private use to commercial.

A multi-room facility serving the likes of Strokes and Regina Spektor producer Gordon Raphael Grammy-winning sound engineer Benny Faccone and various music groups and artists, it now offers four recording environments – with a new SSL Duality analogue mixing desk/DAW controller in, its largest rom, Studio A.

 

Arboreal Lightning

Arboreal Lightning
Transforming the former locomotive shed into an interactive art space, London’s Roundhouse recently hosted the Arboreal Lightning sound and light installation commissioned by singer-songwriter and composer, Imogen Heap. 

The work combined interactive visuals and Ambisonic sound, that supported artist performances and the audiences’ own experience. 

 

Capitol Studios take first PMC QB1-A monitors

Capitol Studios
The first placement of PMC’s new QB1-A studio reference monitors is with Capitol Studios in Los Angeles, as part of the studios’ ongoing refurbishment programme. One pair of the monitor loudspeakers is destined for Studio A, and the other for Studio B.

Aiming to provide a ‘new reference standard’ for medium-to-large-scale recording facilities in terms of accuracy, dynamics, resolution and headroom, the QB1-A design incorporates analogue and digital inputs, PMC’s Advanced Transmission Line bass-loading technology, DSP control, and the latest generation of PMC’s class-D amplification and driver designs.

 

Sydney’s Studio One Flight Up adds API console

Studio One Flight Up
The owner of Studio One Flight Up in Sydney is a self-proclaimed ‘analogue-minded person’.

Working with independent singers, songwriters and musicians, Nick Irving’s studio is home to a wealth of vintage analogie outboard gear and – most recently – a 32-channel API 1608 analogue mixing console, fitted with 24 API 550A and eight 560 EQ modules.

 

Lectrosonics helps Release The Hounds

Release The Hounds
Recording sound for a new TV reality game show for ITV and FOX saw recordist Richard Meredith faced with a set that comprised an open forest several miles west of London, with events taking place all over it. Nevertheless, the Release The Hounds shoot was to be done in ‘studio style’, with the director in a central gallery and camera feeds recorded on a stack of decks, as opposed to shooting in camera.

In fact, the location was so spread that it ended up being two galleries…

 

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Fast Moves

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