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Spat Revolution used for Chinese immersive orchestral performance

Spat Revolution used for Chinese immersive orchestral performance

Spat Revolution used for Chinese immersive orchestral performance


The Jinan Olympic Centre Donghe Stadium in September treated its inaugural audience of 2,000 to the region’s first immersive orchestral performance, co-sponsored by the Ministry of Culture and Tourism and the Shandong Provincial People’s Government. The Yellow River Flowing Into the Sea concert featured a 160-piece orchestra an 800-person choir and guest vocalists using Flux:: Immersive Spat Revolution.

FOH engineer Yong Xu mixed the show on an SSL L500 console with L100 sidecar, integrated with dual Spat Revolution workstations running 8-core i9 computers, while OB engineer Wenzhao Ma ran a DiGiCo SD7 Quantum, also using a dual Spat Revolution system. MADI connectivity via MGB devices ensured full redundancy. “We used Spat on both the live and OB production,” explained systems engineer, Wenzhao Ma. “We divided the orchestra into 15 stereo stems and one mono stem to the FOH desk, and then flowed it into Spat using MADI. For the OB mix, I tried to put all the inputs into Spat, including functional channels like background music, ambient and audience mics. I used the acoustic simulation in Spat’s room effect to leave a little bit of early reflections, to give a sense of space.”

The object-based FOH mix consisted of more than 20 stems from the SSL console, with Spat Revolution rendering the mix to the LCR system to provide imaging and acoustic simulation. At the OB position, a mix of 21 stereo stems and two mono stems from the DiGiCo console utilized Spat to render stereo, 5.1 surround, and full binaural synthesis mixes.

The show was Wenzhao’s first experience working with Spat. “The functions are powerful, and the sound is amazing,” he reported. “I really like the flexibility to be able to work in any configuration, even on headphones. Immersive and spatial audio is more than just a technical ‘trick’ – it enables us to improve and enhance the sound and the performance by adding dimension. Spat gives me the flexibility to show the composers what surprises are possible with their creations.”

The technical team built a stage at the stadium – which usually hosts sporting events – and created rigs to hang the LCR loudspeaker system from. Each column comprised six d&b Audiotechnik GLS8 and two GSL12 boxes, with 12 SL-SUBs stacked in front of the stage. Two groups of SE Audiotechnik M-F3a sidefills were processed in mono.

The event was being recorded for release on Blu-ray, with recording engineer Jakob Handel specifiying DPA 4099 mics on the strings. “We found that using Spat added some natural depth and dimension to the strings; I didn’t even need to any EQ,” said Wenzhao.

“One thing that I love about Spat is the ability to easily reconfigure the channel setup. I will be presenting this recording to some of our clients, and I will be changing it to a 5.1 or 7-channel mix. Our team had the first application of Spat in China, and it is just the beginning. We have a studio in Beijing, and we will create a Spat setup there. I have plans to use it for many upcoming projects.”

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