Taking audiences even deeper into the magical world, the Adelaide Symphony Orchestra in partnership with CineConcerts and Warner Bros, performed Harry Potter and the Prisoner of Azkaban for the first time in the southern hemisphere and used L-Acoustics L-ISA Hyperreal Sound for the live performance.
The L-Acoustics L-ISA was deployed by leading Australian Technical Production Company, Novatech, which has been used L-Acoustic systems for many events in Australia for over a decade. A keen innovator, the company endeavoured to improve the experience for guests and artists alike and has invested heavily into new technology over the years. So when the L-Acoustics L-ISA was released, Novatech looked for opportunities to use the ground-breaking technology in Australia.
“With L-Acoustics being the backbone of our audio inventory, we were excited by the introduction of L-ISA and were keen to bring it to Australia for a live performance,” remarked Novatech’s Production Manager, James Sacca: “It seemed fitting to partner with the Adelaide Symphony Orchestra for this Southern Hemisphere first. As always, L-Acoustics was professional to deal with and extremely supportive as we planned this technically complex event.”
The L-ISA set up included 126 input channels and 96 L-Acoustics L-ISA objects and used an L-ISA Wide design solution, deploying a total of 84 L-Acoustics Kara cabinets in seven hangs of 12 Kara. Each was spaced above the performing zone to provide source separation and localisation, two extension speaker groups of 12 L-Acoustics Kiva II and two flown L-Acoustics subwoofer arrays of four L-Acoustics SB28 in and end-fire configuration in the centre.
The monitor system comprised 10 L-Acoustics X15 HiQ cabinets and eight X8. Control was via a DiGiCo SD10 mixing console at front of house and an AVID S6L at monitors, connected via three Optocore optical loops.
Charles Gagnon mixed the show, made adjustments to the soundscape using the L-ISA Controller software to address the processer and created the soundscape for static information such as object panning, source width, distance, and more based on input channels bussed from the SD10.
“I have long been a fan of so-called surround sound and immersive audio,” said Gagnon: “I’ve done numerous recordings and broadcasts in ‘traditional’ 5.0/5.1 surround and have been involved in experimental immersive audio projects going back to the early 2000s. Advances in processing power and algorithms now make object-based systems practical so I am intrigued, but not surprised, about the emergence of these systems in the competitive live sound market.”
Gagnon found the L-ISA Controller software intuitive, with a well-designed GUI that made it easy for him to quickly make broad adjustments to the soundscape. “I was pleased with the result, especially with dialogue clarity and localisation, and overall clarity and coherence of the soundstage,” he added: “It was a great experience and I would most definitely like to use it again.”
“Novatech works closely with us as our technology partner to bring the sounds of the orchestra to audiences both small and large,” commented Vince Ciccarello, CEO of the Adelaide Symphony Orchestra: “We were thrilled and excited to learn of the new L-ISA technology that would more faithfully engage our artists with the audience and are proud to be a part of this collaboration with Novatech and L-Acoustics.”
