[...]
When we did New York and Mexico the whole show was 360o, but when we went to the larger arenas for various reasons we used a 180 system, so I had to adapt the show from 360 to 180 for this particular run,” Gale continues. “It’ll probably go back to 360 for future runs, but that was a surprisingly rewarding process. It’s surprising what you can achieve with 180. You can still get a real feeling of depth and sound surrounding you.
[...]
She goes into a reverb chamber onstage and closes the door as part of the show. I wanted to take the audience with her, so we have mics in the walls, and with the 180o show I’m putting the object on stage where the chamber is, so it sounds like the sound is coming from the chamber. I read a review that said that moment was totally unamplified, which of course isn’t the case.
[...]
She would say things like, ‘the two flutes are in a battle here, how do we represent that from an audio perspective ?’ Or, ‘I need these seven flutes to sound more like a rave’. It’s a totally different type of creative story-telling that immersive audio gives, compared to the traditional engineering of a sound system.”
“My favourite is still ‘can you make the subs sound more optimistic ?”, Gale smiles.
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But it’s not a high budget show, and I would guess the audience probably thinks it is, because it is amazing what we pull off on a fairly small budget compared to a lot of other shows.
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