You are a venue concerned with keeping your technicians up to date with the latest know-how in sound reinforcement? You work as a sound designer for a theatre or dance company and you would like to have develop your writing of soundscapes on stage? You are a training centre and you would like to give your trainees tools they can go home with, tools they can keep using after the course is finished? Get in touch with us for any training in WFS!
In some places, like churches that have very long reverberation times, voices and musical instruments can lose very quickly their definition. Sound reinforcement may be necessary. But when it is done with large speakers on both sides of the sound stage it can cause the acoustics to get louder and blur even more the sound because of a lack of spatial coherence. In this case can WFS be the solution?
Voici quelques repères concernant les configurations d’ordinateur et ce dont on peut en attendre par rapport au nombre de pistes et de la latence. Si vous êtes déjà utilisateur, vos configurations sont bienvenues dans le tableau ci-dessous. Merci !
Here are a few pointers regarding the configuration of computers and how many channels and what latency to expect. If you are already using the system, your configuration is welcome in the table below. Thank you!
WFS can also be used for theatrical sound design to play soundtracks, Foley or prerecorded speech, add a sonic character to a prop or to reinforce voices. But what are the limits of realism from a technical stand point as well as from the dramaturgy?
Here are a few pointers regarding routing between a console and a WFS processor. The console is there to preprocess all the signals from the microphones, recorded or synthesis tracks and send them to the WFS processing. After this the output signals have different options depending on the console’s possibilities.Poursuivre la lecture de « Console+WFS signal routing »
During our summer residency at Théâtre Garonne we have had the occasion to test our front-fills on a ground level stage. These little speakers have a coaxial design with a wide coverage angle of 120°. When they are put on the ground there are important reflections bouncing on the floor that can colour or interfere with the original signal.
Le processeur L-ISA de L-Acoustics a été développé en France avec le soutien de l’IRCAM. Ce n’est pas une matrice de délais à la différence des autres systèmes. Il est là par ressemblance, plus qu’autre chose. Le traitement n’a lieu que sur les niveaux, c’est une sorte de matrice de DBAP.
The L-ISA processor from L-Acoustics has been developped in France with the help of IRCAM. But this one is not a delay matrix like the other processors presented here. It looks like the other, but here all the processing is done one the levels. This is a DBAP matrix.