Audio equipment manufacturer D&B Audiotechnik assists in the sound mixing for the stage production of 'Fiddler on the Roof'.
In the world of live theatre sound, efficiency and clarity are paramount. For the touring production of Fiddler on the Roof from Regents Park Open Air Theatre to the Barbican Theatre, sound designer Nick Lidster has turned to the CCL system, offered by sound supplier Autograph.
The CCL system, a compact, lightweight, and efficient system, provides directivity control and low-frequency cardioid performance. Lidster was drawn to the CCL system due to its ability to utilise one D40 amplifier channel to drive two boxes, making it more efficient for a theatre PA system. This feature, also noted earlier in the tour, has proven to be a valuable asset.
Lidster, who had previously used the XSL cardioid system in the United States, appreciated the increased headroom on the radio mic system before feedback. For this production, he is using a mix of miniature boom and lavalier microphones for the 27 cast members, and the CCL's cardioid performance helps to even out the difference between them.
The CCL system's rear rejection from the PA also helps to equalise the level and clarity differences between the two types of microphone systems. This feature, combined with the system's practical advantages such as flying and mounting accessories, has been appreciated by the production sound engineer, Larry Golland.
The two main hangs, each with 12 CCL8 cabinets (80-degree dispersion) and 4 CCL12s (120-degree dispersion), were complemented with a centre cluster of 4 CCL12s for down-fill and 6 CCL Subs for LF reinforcement. The system also includes d&b Y7P and Y10P point source cabinets for the gallery truss system and side-fills.
The CCL system required little support from Autograph, as the Autograph team was able to obtain a 3D CAD file of the Barbican Theatre via d&b's ArrayCalc software. The two main arrays were powered by just two of d&b's 4-channel D40 amplifiers per side, one channel per pair of cabinets.
Lidster expressed satisfaction with the CCL system, having had a positive experience with a similar system, the XSL. He is confident that the CCL system will deliver clear and consistent sound coverage throughout the auditorium. The name of the lead sound engineer who worked on the production is Andy D’Cruz.
In summary, the CCL system, designed for a wider range of smaller, more intimate applications as compared to the SL-Series, has proven to be a valuable addition to the Fiddler on the Roof tour. Its efficiency, clarity, and practical advantages have been appreciated by the production team, and Lidster is confident that it will continue to deliver clear and consistent sound coverage throughout the rest of the tour.
