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Yamaha goes to Urinetown

Yamaha goes to Urinetown

Yamaha goes to Urinetown


For three weeks, individuals in Singapore were able to watch the unique, comical musical, Urinetown. After making its debut in New York in 2001, it has been nominated for several awards and has won three Tonys. For its latest production, the sound design and system operations were monitored by Ctrl Fre@k, with co-owner, sound designer and engineer Jeffery Yue choosing the Yamaha Rivage PM10 digital mixing system.

The PM10 was chosen due to its high channel count, automation and processing capabilities, as well as meeting the requirement to run everything at 96kHz. ‘First, the PM10 allows us to split all input channels, so each microphone channel got split in two with one going to FOH and one to monitors, each with completely separate processing,’ said Yue. ‘The orchestra used in-ear monitoring systems and so did our engineer in the pit who looked after the musicians. In total we were using 22 matrix outputs and then the outputs for loudspeakers from the Drama Centre Theatre’s inventory for on- and off-stage monitoring purposes like providing cast with audio from distant singers or cues which they might otherwise not have heard. In addition to the front of house PA, we also used spot and effects loudspeakers on stage and upstage for correct localisation.’

Yue has used the PM10 in the past for other productions including a rock musical and a traditional, neo-classical piece. ‘Yamaha keeps adding to the software,’ he added. ‘Since I had last used the PM10, a theatre layer had been added, so I have not used it before. It adds theatre-specific features and functionality to the basic PM series software, DCA groups and more. For instance, each channel allows you to store multiple different EQs which can be recalled quickly. This proved very useful for us, considering the fact that the same cast members were playing multiple roles which involved quick changes to different costumes and specifically, different hats. Hats are our enemies because different hats produce different reflections into the omnidirectional sub-miniature microphones causing the same voice to sound different, something we were able to adjust with the help of the theatre layer.’

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