Catching up with TT+ Audio’s Andy Magee, the Business Development Manager reflects on the summer so far, with the GTX 7C line array in action at the BBC Proms performances at The Glasshouse International Centre for Music in Gateshead.
Can you tell us a little bit about the shows this summer at The Glasshouse in Gateshead?
“This summer, The Glasshouse is undertaking the most significant programme of capital improvements to Sage One since the building opened in 2004. With the main hall temporarily out of action, it was decided to build a new performance space on the buildings concourse with a ground support structure and stage. As the performance area is a large atrium and not an acoustically neutral concert hall, the selection of the sound system was very important. For the BBC Proms performances, which were being broadcast on radio, we needed a sound system that could handle being in close proximity to an orchestra. It made complete sense to use the TT+ Audio GTX 7C system. As there were multiple stage layouts and this system having variable cardioid pattern control, it was the obvious choice, as it allowed us the opportunity to select the coverage pattern and the direction of the cardioid steering depending on the position of these quiet instruments and sensitive microphones. In addition to the GTX 7C we used the GTS 16C natively cardioid subwoofers, which also features variable directivity options and when appropriate for the more contemporary performances, we employed the GTS 29 2 x 19” subwoofers for some 1st octave infra-bass. GT 8 point sources were used as stereo front fills and outfills.”
What has the journey been like to get the new GTX-7C cardioid line array in action?
“Due to the popularity of the product around the world, it has taken us a little while to secure a demonstration system into the UK, but we now have a full demonstration system with line sources, point sources, subwoofers, amplifiers and processors. Giving us the opportunity to deliver very effective demonstrations to customers, along with all of the necessary accessories to cover more or less any deployment eventuality.”
What was the response of the crew and audience at The Glasshouse shows to the system?
“We have received some incredibly positive feedback from both engineers and production staff The Glasshouse, plus the broadcaster, as PA spill was enormously reduced while still delivering around 95 decibels at front of house. Amplifying the performance to those levels with sensitive microphones that were a mere 4 metres or less from the loudspeakers was a great achievement and testament to the quality of our engineering.”
Did The Glasshouse pose any challenges for the deployment of the system?
“No, the system was deployed very easily actually, the GTX 7C was flown from the ground support system in minutes as well as ground stacked delay systems to cover acoustic shadows. Really the main challenge was acoustic as the concourse atrium area is approximately 80 metres long and 30 metres high of marble and plaster, but with our variable cardioid pattern control, we achieved as little acoustic excitation of those areas as was possible and got a great sounding result.”
What were TT Audio’s highlights in being involved in the shows?
“I think for us, the highlight was that we could actually achieve a really fantastic sounding show in such a reverberant space at significantly higher pressure levels than would be expected and with an awful lot less effort. I believe we only applied one EQ filter to deal with a little bit of rumble and almost all of the orchestra microphones were flat, quite remarkable when considering that the source and loudspeakers were so close to each other.”
