A workshop about the science and art behind audio localisation, its applications, and how its done.
Audiences find it distracting to see an actor on the right side of the stage but hear their voice from a speaker on the left. Spread this out across multiple actors and you will have an audience stressed by the effort of trying to discern who’s saying what. The willing suspension of disbelief is challenged; the director is miffed.
Arrival time differences between the natural acoustic wavefronts from actors and the amplified wavefronts must therefore be managed and controlled or they will control us – the well known doctrine of precedence or Haas effect.
Level-panning doesn’t really achieve much because it only mainly works for audience members sitting near the centre-line of the room. Mic insert delays help, but it can often be a struggle to set even variable flatline delay values that avoid echoes or phasing for all stage positions and all audience seats.
Source-oriented reinforcement effectively gives each performer their own PA system in terms of timing and localisation. A delay matrix allows multiple simultaneous time alignments between each mic and every speaker, managing precedence and hence localisation. Performer tracking automates this as the actors move around stage, leaving the sound engineer free to concentrate on the subtleties and dynamics of the mix.
You are invited to join us and explore how what where and why…
Manchester Royal Exchange
3pm 22nd September 2011
Presented by Out Board UK, The Royal Exchange and the Association of Sound Designers