The most recent creation by theatre company Dragone, Terhal is an immersive theatrical show celebrating Saudi Arabia’s culture, people and heritage. The show features acrobatics, stunts, aerial performance and special effects, alongside traditional Saudi art and dance. Dragone chose by L-Acoustics’ L-ISA Immersive Hyperreal Sound to add an immersive sound environment to complement the enchanting visuals.

While the show run is temporary, to ensure that each performance is memorable, the host venue is purpose-built, designed explicitly for Terhal. Delivering the large-scale production in the purpose-built venue within an allotted timeframe presented a considerable challenge to the sound team of sound designer Sebastian Hammond, L-ISA engineer Adriaan van der Walt, and mix engineer Andy Tsang.

Having crafted immersive sound experiences with L-ISA for high-profile projects including the opening and closing ceremonies for Expo 2020 Dubai and Dragone’s La Perle, Hammond believes Dragone shows are known for pushing the limits of audience experiences: ‘Although this was a temporary show, I wanted to deliver the complete residential theatre experience for the audience via the immersive sound design’s detail and live sound technology,’ he says,

To this end, optimising the possibilities of the performance space during the initial design and collaboration was crucial. ‘L-Acoustics and L-ISA were part of my plan from the beginning, providing the tools I needed to immerse the audience in the performance and deliver exceptional clarity, depth, and dynamics.’

Hammond knew that the show would undergo numerous iterations during the pre-production and creative process and, therefore, required a sound design that could easily adapt. ‘My mission again was to create the best design possible for the venue and performance space,’ he explains. ‘Knowing the type of productions Dragone delivers, and building on my experience, I had to ensure the design was flexible both technically and creatively.’

‘When I shared my sound design for Terhal, the team at L-Acoustics asked if we’d like to trial the forthcoming L-ISA 3.0. I said yes, because the new release gave us updated features such as the FX Engine, which enables reactive movements and trajectories, and customisable controls for organic interactions between objects. The FX Engine can create dynamic soundscapes that move with the action on stage, creating an atmosphere of suspense and excitement. Additionally, it adds subtle details and spatial effects that help bring the world of Dragone’s immersive shows to life. These enhancements significantly improve the immersive experience at Terhal, allowing us to elevate the creative concept even further.’

Van Der Walt agrees: ‘The one thing that stood out for me was how well the room engine transformed the sonic landscape beyond the venue’s actual acoustics. It brought another dimension into the mix, creating so much more depth – which, with the help of the new FX Engine, could be automated to follow trajectories. Each object would then follow its path, as programmed from scene to scene.

‘Andy Tsang and I quickly established a workflow between the Quantum 7 desk and L-ISA, which streamlined the programming of this complex show. The DeskLink feature, which enables L-ISA control on the DiGiCo, helped us identify objects or groups that we wanted to map around the audience. Once placed in the correct space, Andy could easily adjust the depth of each object, which in turn would push it into the Room Engine – either to blend in or be used to great effect.’

‘One of the most impactful moments of Terhal is a massive and intense sandstorm scene, which was a sensory overload in all the right ways,’ Hammond says. ‘Music, sound effects, lights, and video all coming together created an impactful, unforgettable moment, and having L-ISA helped us raise the bar. This was a thrilling use of the technology, which gave us numerous imaging possibilities.’

Hammond further describes how he used L-ISA to make the show more impactful, ‘I focused on creating a spatial experience that incorporates both sound effects and musical elements. The team and I were able to fully utilise the room engine, imaging, and movement capabilities of L-ISA 3.0 within the surround system.’

Weight restrictions on the event structure were a further consideration, leading Hammond to choose a combination of L-Acoustics K2, Kara II, and Kiva II loudspeaker systems. The main system, which needed to cover an audience area that extended almost 360° around the central performance area, was provided by ten main arrays of Kiva II, complemented by two arrays of K2 and four arrays of Kara II. Twenty-eight KS28 subs supplied low-end extension and extra power for sound effects. Eighteen 5XTs placed around the stage-lip provided spatial front fill, while 20 Syva were placed around the walls for surround.

The system was provided and installed by local L-Acoustics Certified Partner Clair Global. ‘We all worked together to bring this project to life, and it was crucial to have the support of a reliable and experienced team,’ Hammond says. ‘We were very fortunate to have Clair Global handling the delivery and operations of the immersive sound and communications design.’

Dragone consistently pushes technological boundaries and, in this, Terhal is no exception. The creative team united to craft unforgettable scenes and Hammond feels that having L-ISA technology was crucial in bringing the immersive experience to life.

‘I am very proud of this sound design,’ he reflects. ‘The dynamic fusion of the system’s adaptability, coupled with the innovative application of sound, lighting and video, perfectly captured the exhilaration of the story, resulting in a profoundly impactful and immersive performance. The final result was a transformative and breath-taking experience that is a testament to the creative potential of collaborations between pioneers in their respective fields.’

See also:
L-Acoustics has launched L-ISA 3.0

More: www.l-acoustics.com