Les Miserables - Audio Design

Mar 27

WiredUP recently completed the sound design and rental fulfillment for Bay Shore Drama’s production of “Les Miserables”. More commonly referred to as simply “Les Mis” (Pronounced Lay-Miz), is a live musical set in early 19th-century France. Les Miserables is the story of Jean Valjean, a French peasant, and his desire for redemption, released in 1815 after serving nineteen years in jail for stealing a loaf of bread for his sister's starving child. Valjean decides to break his parole and start his life anew after a bishop inspires him with a tremendous act of mercy.

Thus, the sound design, completed by WiredUP CEO Dennison DeNatalie, had to portray the dramatic theme of the show. Using Vectorworks and Meyer Sound MAPP-XT Audio Design software, plans were drawn for a temporary suspended PA, and calculations were made to assure that the PA was capable of creating the image and effect set forth by the design plan.

When designing the PA, a few things had to be considered, given the odd performance space specifications, such as a stage extension which also enclosed the 60-musician pit orchestra. With a total of 41 microphones being used for the show, careful measures had to be taken to avoid feedback from the flown PA, and both the orchestra and on-stage fold-back systems.

The premise of the entire plan was to move the front line of the PA forward, while maintaining the image of a single-source performer. This was achieved by using four of the same point-source PA box on the front-of-house electrical truss, splayed equally by splitting the room into thirds. In addition to this, the low-frequency elements needed to be able to provide impactful low-end throughout the theatre, especially during Gavroche’s death in the second act of the show. To do this, two end-fire arrays were used, one on either side of the theatre. This also resulted in a cardioid effect on stage, keeping bass in its place within the audience.

The system utilized two QSC K12.2’s, two K10.2’s, two KS118’s, and two KW181’s. The result was a system that maintained the image of the show, provided intelligibility throughout the theatre and had an incredible amount of presence. Additionally, front fills were used to remove the gaps that were naturally created when deploying an overhead sound system.

All processing of inputs as well as the outputs going directly to the speakers was handled by the FOH Midas M32-Live console.