莫斯科音乐剧《佐罗》相关报道及视频片花

由 **dygmail** 周六九月 17 2011, 00:06

以下是在莫斯科的音乐剧《佐罗》中剧组人员的日志

佐罗游戏机再次

国际主义的最佳：西班牙弗拉门戈，俄国演员，美国和德国aurus声音设计
这是五年以来aurus证明自己第一次作为一个mixing-desk音乐剧。当时，德国的舞台娱乐，领先的音乐制作公司在德国，派其生产阿依达旅游，支持一个aurus与联系。同时，stagetec技术取得了良好的声誉在国际音乐制作场景，无论质量最重要，它已成为了选择工具

它还没有明显的时间的阿依达生产但aurus部署也标志着时代的终结。至少在德国写作是在墙上的模拟游戏机在音乐剧商务旅游。过了四年，直到一小块这个数字在美国一个新版本的音乐剧邪恶的目的是去参观减少旅游设备。该解决方案是一个数字音频网络的联系，它取代了以前的铜模拟布线。国际知名设计师凯原田负责旅游。

»邪恶的管理人员说，他们想使二日游较小。相比第一次参观我们唯一可以改变布线。由于剧院是相同的，演员是相同的大小，该乐团是相同的大小，我们不能带走，我们不能把麦克风。但我们减少电缆的至少一半的使用«网络体系。

工作与关系说服原田到这样的程度，下一次合作是在不久的未来。2010年底以来，另一个联合生产舞台娱乐，与原田声音设计师，依靠stagetec技术：音乐佐罗的夫人宫莫斯科剧院。

»佐罗制作了在伦敦和巴黎设有不同的音效设计师。音乐组成的吉普赛国王，并明显的吉他是很重要，但为显示在俄罗斯他们把一把吉他。这是相当大的挑战，使显示的声音大虽然有七人的乐团–双键盘，贝司，鼓，吉他，打击乐，三分之一阶段«吉他。

音乐在莫斯科在皇宫剧院讲述的故事，传说中的佐罗，战斗永恒的斗争善恶与勇敢的剑客和惊人的杂技表演。在这一天，佐罗过着安静的生活作为一个小贵族，唐迭戈德拉维加，在农村。但在晚上，他将自己改造成了复仇者的压迫，穿着黑色斗篷和面具！
佐罗现在几乎是一百岁，受到许多书籍和电影。音乐是在合作与伊莎贝尔阿连德，2005，发表小说改编的故事。对于音乐，音乐由吉普赛国王和卡梅伦。

然而，在对比和比较经典的类型，如歌剧，音乐会和戏剧，数字音频技术还有很长的路要走直到它获得一个强有力的立足点在世界音乐制作。频繁的演出，门票价格高，当然，大量的控制台功能的能力所需的音乐剧的一些原因犹豫不决的入口进入数字时代。并有很好的理由，一个不可靠的控制台可以成本组织者很多钱，如果性能已被中止或取消了。另一方面，模拟调音台现在已经达到这样一个时代，失败的风险远远高于其历史悠久的数码同行。这是真的，当然stagetec控制台，至少，它建立了一个很好的名声可靠性。

»发现联系系统非常易于使用；它比较容易想出一个系统在美国和邪恶，也很容易建立。这是绝对的；非常稳定，我绝对喜欢它的声音。«

混音的音乐是非常高的要求，一个混合的控制台。作为一项规则，许多输入通道连接–之间的100和140渠道是远远不寻常！如果声音算子是把一切都控制在展示桌，不仅要有足够的逻辑渠道也比较多条物理信道控制。此外，它是一个必不可少的条件，每一个通道控制条
提供的直接接入的最重要的参数，即它不仅控制水平和平移也是情商，巴士，路由和动态！这是一个许多aurus优势。自从首次在2002作为»直接«控制台具有特色的一个几乎模拟式控制面。为two-person-operation，这是常见的在安装阶段，这是一个重要的考虑。

»我最喜欢的东西是它听起来不错。这是最重要的事情。在一天结束的时候，什么是从扬声器的声音真的，真的很好，是什么问题。«

当谈到自动化，数字aurus是优于模拟台作为一项规则。多年来在剧院世界各地，现场自动化已经过测试和不断改进。今天，它涵盖了整个功能的书桌和已成为一个重要工具，混合音乐剧。越来越复杂的制作需要分场变化的路由，控制外部效应及球员和大批量的逻辑功能。
这些逻辑控制的要求是相当复杂的佐罗演示。一些场景需要播放预先制作的音响效果确切点的音乐。负责开始播放在正确的酒吧正是在于指挥不音响操作员。为此，指挥的桌上有一个按钮安装触发逻辑输入的相邻关系的基础设备。联系，然后生成一个迷笛命令触发播放器重现理想的效果。然而，确保正确的作用是发挥出来；关系首先检查位置在控制台现场自动化名单之前，它生成的命令。
这种巧妙的结合关系的逻辑功能和aurus现场自动化是特别有用当事件是年年中开始的场景。在现场，没有播放的需要，该按钮被禁用。这保证了列表总是在正确的地方，不会跳到下一个场景不小心将此案与少智能解决方案。没有这一逻辑电路的导体，都会提供一个自定义的标记接口面板专用连接的影响，玩家通过长迷笛线路中继器。

»导体点击按钮触发关系指数事件告诉aurus发送一个特定的迷笛注回电脑播放点击跟踪。我们使用了大量的这些功能，加上简单的关闭命令/麦克风，通过«联系。

八通道佐罗音效播放的麦金塔电脑备份同步运作的另一个玩家。如果出现问题，音响操作员可以切换到备份机没有中断–另一种安全功能，这绝不是标准到处。
场地的音乐，剧院的mdm-palace在莫斯科，一个会议中心，直到它被翻新。因此，转换成一个音乐场馆并非没有挑战。有没有阳台和所有的座位是在一个水平更浅耙比是典型的目的建立的剧院。礼堂也特别宽的后方，这些因素都影响扩声系统。

»只是填补这个大房间一样的声音尽可能不太大–系统方面我有很多环绕扬声器因为节目开始时投来的礼堂上舞台。很多，这是非常有用的具有aurus做编程值的变化，变化为线索，在开始和特殊效果。这是伟大的。«

实现前定位为座位，并尽可能提供一个准确的看法的立场演员在舞台上，许多发言者原田选择每一个可以单独处理。他的一个商标，是一个比较大的一些发言者创建准平行之系统的各种信号，比如一个声音，一个音乐，和三分之一的影响。因此，各种信号混合在声级。这可以防止不愉快的相互影响，使一个更透明的发展。

»音乐通常是更复杂的比摇滚乐表演。对我来说，尤其是对佐罗和其他表明我过去，重要的是，它仍然听起来自然–你还认为声音是从表演。这是关于系统调整和平衡和经营者应当如何«声。

在这样的安排，是不仅负责路由到正确的扬声器也负责增加个人对每个信号延迟。这样的定位是增强，加强观众的看法，声音是从舞台，不是从扬声器。
由于aurus ' n矩阵实际是没有数量限制的信号，可以混合单独。矩阵提供能力，为多达96个独立的和–这当然只是一个理论数为这款应用！然而，26个不同的和混合佐罗，不包括显示器组合的音乐家，因为这是实现独立通过一个aviom系统使得音乐家创造他们自己的个人和。

»西班牙吉他演奏表演，他们被训练三分之一个谁是俄语。有六的西班牙弗拉门戈舞表演，他们也教俄语的行动者以及。生产具有俄罗斯公司，英国导演，法国音乐总监，法国公司，荷兰照明公司，德国的联想，基督教从stagetec德国，我来自美国，而不忘俄罗斯伟大声音船员，包括极有才华的谢尔盖柯尼耶夫–，真是太棒了。«

该音乐剧音响设计是由许多小的马赛克瓷砖。在理想的世界里，他们都互相补充，最终创造一个生动多彩的声画。到目前为止，这是真正为每一个复杂的音乐，一直支持stagetec技术。顺便说一句，还有另一个显示运行目前非常类似的要求。凯原田还负责音响设计hinterm地平线（超越地平线），德国的一个音乐在柏林剧院在波茨坦。本舞台娱乐德国公司生产采用二aurus /联系系统的音频。说它全部–完美的生产必将成功了2011！

凯原田（左）是一个自由的声音设计师的工作对全球音乐制作。多年来他与梅奥拉，一个历史悠久的纽约设计师。首先，他认为自己的主要任务是计划整个音频系统包括振系统和麦克风，安排混合和程序的系统和显示操作直到声音与他的观念。
除了启原田，我们感谢米歇尔（右）的舞台娱乐德国福斯和基督教的salzbrenner stagetec mediagroup所有的信息和支持！
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Zorro Rides Again

Internationalism at its best: Spanish flamenco, Russian actors, American sound design and a German AURUS
It’s five years since AURUS proved itself for the first time as a mixing-desk for musicals. At that time, German Stage Entertainment, the leading musical production company in Germany, sent its production of Aida on tour, supported by an AURUS together with NEXUS. Meanwhile, STAGETEC technology has gained an excellent reputation on the international musical production scene and, wherever quality matters most, it has become simply the tool of choice

It was not yet obvious at the time of the Aida production but the AURUS deployment also marked the beginning of the end of an era. At least in Germany the writing was on the wall for analogue touring consoles in the musicals business. It took another four years until a little piece of this digital wave washed over to the USA. A new version of the musical production Wicked was intended to go on tour with reduced touring equipment. The solution was a digital NEXUS audio network, which replaced the previous copper analogue cabling. Internationally renowned sound designer Kai Harada was in charge of the tour.

»Wicked Management said they want to make the second tour smaller. Compared to the first tour the only thing we could change was cabling. Because the theatres are the same, the cast is the same size, the orchestra is the same size, we couldn‘t take away speakers, we couldn’t take away microphones. But we reduced cables by at least half by using the NEXUS system.«

Working with NEXUS convinced Harada to such an extent that the next co-operation was not long in coming. Since the end of 2010, another joint production of Stage Entertainment, with Harada as sound designer, relies on STAGETEC technology: the musical Zorro in the MDM Palace Theatre in Moscow.

»Zorro had been produced in London and Paris with a different sound designer. The music was composed by the Gipsy Kings, and obviously the guitar was very important, but for the show in Russia they cut one of the guitars. It was quite a challenge to make the show sound big even though there were only seven people in the orchestra – two keyboards, bass, drums, percussion, two guitars and a third guitar on stage.«

The musical in Moscow‘s MDM Palace Theatre tells the story of the legendary Zorro, fighting the eternal struggle of good and evil with daring sword fights and breathtaking acrobatics. During the day, Zorro lives a quiet life as a minor aristocrat, Don Diego de la Vega, in the countryside. But at night he transforms himself into the avenger of the oppressed, wearing a black cloak and mask!
Zorro is now almost a hundred years old and the subject of numerous books and films. The musical was produced in co-operation with Isabel Allende who, in 2005, published an adaptation of the story as a novel. For the musical, the music is composed by the Gipsy Kings and John Cameron.

However, in contrast to broadcast and in comparison with the classical genres such as opera, concert and theatre, digital audio technology has still a long way to go until it gains a strong foothold in the world of musical production. The frequent performances, high price of admission and of course, the massive console function capacity required for musicals are some of the reasons for the hesitant entrance into the digital age. And for good reason, an unreliable console can cost the organizer a lot of money if a performance has to be aborted or cancelled completely. On the other hand, analogue mixing consoles have now reached an age where the risk of failure is now much higher than that of their long-established digital counterparts. This is true certainly for STAGETEC consoles at least, which have established a very good reputation for reliability.

»I found the NEXUS system very easy to use; it was relatively easy to come up with a system for Wicked in America, and it was also easy to set up. It‘s been absolutely great; very stable, and I absolutely love the way it sounds.«

The sound mix of a musical makes extraordinarily high demands on a mixing console. As a rule, a great many input channels are connected – between 100 and 140 channels is far from unusual! If the sound operator is to keep everything under control during the show, the desk must have not only sufficient logical channels but also a relatively large number of physical channel control strips. In addition, it’s an essential condition that every channel control strip
gives direct access to the most important parameters, i.e. that it offers controls not only for levels and panning but also for EQ, buses, routing and dynamics! Here lies one of the many AURUS strengths. Since its debut in 2002 as the »Direct-Access« console it has featured an almost analogue style control su***ce. For two-person-operation, which is common during the setup phase, this is an important consideration.

»The thing that I like most is that it sounds great. That is the most important thing. At the end of the day, what comes out of the speakers sounds really, really good and that is what matters.«

When it comes to automation, a digital AURUS is superior to an analogue desk as a rule. Over many years in theatres all over the world, the scene automation has been tested and improved constantly. Today it encompasses the entire functions of the desk and has become an important tool for mixing musicals. The ever more complex productions require scene-by-scene changing of the routing, control over external effects machines and players and a large quantity of logic functions.
These logic control requirements can be quite complex as Zorro demonstrates. Some scenes require the playback of pre-produced sound effects at exact points in the music. Responsibility for starting playback at the correct bar precisely rests with the conductor - not the sound operator. For this reason, the conductor’s desk has a push button installed which triggers a logic input in the adjacent NEXUS base device. NEXUS then generates a MIDI command which triggers the player to reproduce the desired effect. However, to ensure the correct effect is played out; NEXUS first checks the position in the console scene automation list before it generates the MIDI command.
This ingenious combination of NEXUS logical functions and AURUS scene automation is especially useful when events have to be started in mid scene. In a scene where no playback is required, the push button is disabled. This guarantees that the list is always in the right place and will not jump to the next scene accidentally as would be the case with a less intelligent solution. Without this logic circuit, the conductor would have had to be provided with a custom labeled MIDI panel with a dedicated connection to the effects player via long MIDI lines with repeaters.

»The conductor hits a button that triggers a NEXUS GPI event which tells the AURUS to send a specific MIDI note back to a computer which plays the click track. We used a lot of these features, plus just simple on/off commands for microphones, through the NEXUS.«

The eight channel Zorro sound effects are played back by a Macintosh computer backed up by another player which operates synchronously. If problems occur, the sound operator can switch to the backup machine without interruption – another security feature which is by no means standard everywhere.
The venue for the musical, the MDM-Palace Theater in Moscow, was a conference centre until it was refurbished. Therefore, conversion into a musical venue is not without its challenges. There are no balconies and all the seating is on one level with a much shallower rake than is typical in a purpose built theatre. The auditorium is also particularly wide at the rear and both these factors impact the PA system.

»Just filling this really big room with as much sound as possible without being too loud – system-wise I had a lot of surround speakers because at the beginning of the show the cast comes through the auditorium to get on stage. For a lot of that it was very useful having AURUS to do programmed value changes, level changes for cues at the beginning and for special effects. That was great.«

To achieve front localization for as many seats as possible and to provide an accurate perception of the position of actors on the stage, Harada opted for many single speakers each of which could be addressed individually. One of his trademarks is the use of a relatively large number of speakers to create quasi parallel FOH systems for the various signals, for instance one for the voices, another for the music, and a third for the effects. Thus, the various signals are mixed only at the acoustic level. This prevents unpleasant reciprocal effects and enables a more transparent sound to develop.

»A musical is usually more complex than a rock-and-roll show. For me, and especially on Zorro and on other shows I did in the past, it is important that it still sounds natural – that you still think the sound is coming from the performers. And that is about system tuning and balancing and telling an operator how it should sound.«

In this arrangement, NEXUS is not only in charge of routing the sums to the correct PA speakers but also responsible for adding the individual delay to each signal. In this way localization is enhanced, reinforcing the spectator’s perception that the sound emanates from the stage, not from loudspeakers.
Thanks to the AURUS’ N-1 matrix there is no practical limit to the number of signals that can be mixed individually. The matrix offers the capacity for up to 96 separate sums – which is of course just a theoretical number for an application such as this! However, 26 different sums are mixed for Zorro, not including the monitor mix for the musicians since this is realized independently via an Aviom system which makes it possible for the musicians to create their own individual mixes.

»Two Spanish guitarists play the show and they were training a third one who was Russian. There are six Flamenco dancers from Spain in the show and they were also teaching the Russian actors as well. The production has a Russian company, a British director, a French music supervisor, French sound company, Dutch lighting company, my German associate, Christian from STAGETEC Germany, me from America, and not to forget a great Russian sound crew, including the extremely talented mixer Sergey Korneyev – that was really great.«

The sound design of a musical is constructed from many small mosaic tiles. In an ideal world, they all complement each other in the end to create a colourful and vivid sound picture. So far, this has been true for every sophisticated musical that has been supported by STAGETEC technology. Incidentally, there is another show running currently with very similar requirements. Kai Harada is also in charge of the sound design for Hinterm Horizont (Beyond the horizon), a German musical at the Berlin Theater am Potsdamer Platz. The Stage Entertainment Germany production employs the company’s second AURUS/NEXUS system for the audio. That says it all – the perfect sound production will be crowned a success again in 2011!

Kai Harada (left) is a freelance sound designer working globally on musical productions. For many years he worked with Tony Meola, a long-established New York sound designer. Above all, he believes his main task is to plan the whole audio system including the FOH system and the microphones, to arrange the mixing and to program the system together with the show operator until the sound corresponds with his conceptions.
In addition to Kai Harada, we thank Michel Weber (right) of Stage Entertainment Germany and Christian Fuchs of the SALZBRENNER STAGETEC MEDIAGROUP for all the information and their support!
莫斯科音乐剧《佐罗》相关报道及视频片花 856_0_0_images_stories_stages_zorro-img_8173