Each year, Huawei Technologie sponsors the London Winter Concert, held at London’s Royal Festival Hall (RFH) in aid of the Prince’s Trust charity. This spectacular event features the Royal Philharmonic Concert Orchestra, conducted by Paul Bateman. The 2018 edition boasted a line-up led by tenor Joseph Calleja, with special guests, soprano He Wu and young singing talent Beau Dermott. Reactor Group has been supplying production management, sound design and its implementation to the Winter Concert for the past three years and for this edition, they wanted to improve on its previous two, highly successful years.
Sound Design Solution
Although the Winter Concert is long-established in the RFH calendar, this year saw a completely new approach to audio production, with L-ISA Hyperreal Sound delivering an extra frisson to proceedings. A proscenium Scene system was designed in Soundvision, comprising five hangs of nine Kiva II supplemented by two hangs of two SB18s (one either side of the centre hang). Six X8 were mounted on the stage lip to provide front fill, with the centre two X8 split either side of the conductor’s platform, whilst four X12 provided foldback for the soloists.
Audio involving playback and live sources.
|Type||Outdoor auditorium, 1800 people|
|Venue||60 x 50 meters|
|Stage||60 meters wide|
Sound Design Target
Music and visual content were creating from scratch, with the aim of delivering an immersive sound design, including overheads, and provide an orchestral music that would retain its spatial qualities for all seats.
“Not only does it allow the vast majority of the audience to perceive wide and deep spatialized audio, L-ISA also completely changes your priorities and your expectations when you’re at the mixing console. The benefit, particularly for an orchestra, is its natural presentation and the fact that each instrument now has real space in the mix.”
— Martin Dineley, Front of House engineer for the London Winter Concert
“What a great decision it was! Honestly, I was blown away and I’ve never heard quite so much positive feedback about audio on any show I’ve ever worked on.”
— Jim Pollard, Technical Director at Reactor