One by one, the shows that give London’s West End its place in the world of theatre are returning – and the audiences with them. Among them, Hamilton, Les Misérables, Phantom Of The Opera and Disney’s latest production Frozen are just some of the shows currently relying on Sennheiser Digital 6000 wireless systems provided by Autograph.
The association between Autograph and Sennheiser is a long one, dating back to 1984 when Autograph adopted the MKE sub-miniature microphone to help deal with high levels of on-stage noise on Starlight Express. Autograph’s first purchase of complete Sennheiser wireless systems was for another Lloyd Webber musical, Aspects of Love in 1989 – a 21-channel system of EM 1036 receivers with SK 2012 transmitters.
In the intervening years, Autograph’s Sennheiser inventory has kept pace both with evolving technology and continuing demand from leading sound designers. Now, in late 2021 where the entertainment industry is very much in a recovery phase after the devastation of the coronavirus pandemic, Autograph’s commercial partnership with Sennheiser continues to develop.
‘In recent years, Autograph has developed into a true full-service operation, providing sound design, equipment rental and sales, event supply, technical support, consultancy, infrastructure design and installation, training, and product development,’ says Autograph Operations Manager, Scott George. ‘In terms of our sound rental operation, however, our first objective is always to provide what sound designers specify.
‘The designers for the eight London shows currently using our 6000 Series inventory specified that system in preference to anything else. The calibre of the designers we work with and the shows they deliver speaks volumes about the high regard in which Sennheiser’s wireless systems are held within top-end theatre.’
The sheer numbers of channels in simultaneous use on the current roster of shows is impressive, especially when compared to Autograph’s first use of wireless in 1981, when the Andrew Lloyd Webber/Cameron Mackintosh production of Cats used just six, for the principals only. Frozen, Les Misérables, Phantom and Tina all use more 40 channels, while Hamilton, Pretty Woman and Wicked are all 30 or more. Dear Evan Hansen features a relatively modest 12 channels while, away from London, the current touring production of Beauty And The Beast uses no fewer than 50 channels of the Digital 6000 Series.
‘As a long-standing partner of Sennheiser, Autograph has certainly been instrumental to the success of Digital 6000 in the theatre market over the past few years,’ says Sennheiser Business Development Manager for Pro Audio, Kevin Gwyther-Brown. ‘It’s great to see Autograph’s level of support to their customers is resulting in more shows using our technology going their way. Long may this strong relationship continue.’
More: www.sennheiser.com
