Musical harry potter hamburg

Hamburg production of harry Potter und the Cursed Child improves Their Sound

The Challenge

The best challenges for this German-language production des the renowned fictitious magician were die theater’s acoustics. Die venue was formerly a create market that had actually been converted into a multi-purpose occasion venue. Developed into the Großmarkthalle, a protected historic building, ns theater shell ist mostly an exposed concrete building. Fry provided the nature of die production requires large, epos scenes und quieter, more intimate moments. Die production scenes’ duality would need a system that made the big to meet feel more intimate und draw die audience into each scene und each moment.

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The Solution

As a part des the venue’s comprehensive conversion to make it much more intimate weil das the show, fry worked very closely with architect Frans Dikmans and acoustician Karlheinz Stegmaier to enhance the space’s sound. Ns rental company, feedback Show systems, v their developed expertise an systems, provided fließend support zu build a system with the needed flexibility and definition weil das the production. A an important component von this strategy was ns use of predictive modeling software, including Soundvision. By importing und exporting files, the team could collaborate with various other departments kommen sie detect potential sightline or obstruction issues an advance, communicating die consequences of shifting speak positions, due to the fact that it was easy kommen sie display the impact that would oase on coverage.

For ns system, the team decided ~ above a frontal system, mainly utilizing KARA. KIVA ii is so used for rear surrounding on die upper circle early to the space’s an overwhelming nature zum rigging, und the 45-degree rake des the seating section. Each surround level also includes a pair des KS28 subwoofers to ensure ns impact von the show’s more far-reaching moments across ns theater.

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System pictures

The Result

During ns preview performances, fried food felt the system was performing well over expectations, thanks to die team’s hard work on the system design. “It’s always important weil das the audience to connect with die performers, which gets trickier the larger the venue gets. Die vocal reinforcement system needs zu be as durchmacht as possible, and vocals require to kommen sie from ns performers on stage clearly.” the system did nur that.

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Project photos

I found acoustic modeling software extremely useful zum working out exactly how the system would function, which ist particularly important when modeling a room that doesn’t exist yet. Ns software is incredibly useful zum visualizing just how the system will work and sharing information with other departments.

Gareth Fry

Sound Designer

Tech Brief

Vocal LCR main: 3x 8 boxen KARA arraysMusic main: 2 arrays v 5 KARAFrontfills: 16 5XTSidefills: 2x SYVA, 2x X8Mid stalls sidefills: 2x X8Circle stalls Main: Two dual A15 FOCUSCircle stalls delays: 24x 5XTStalls delays: 2x 4 box A15 arraysStalls surrounds: 18x X8 (9L, 9R)Stalls rears: doppel 2x KIVA ii arrays, 14x X8Upper one vocal: 4x 4 KARA arraysUpper circle main: 2x 4 KARA arraysUpper circle sidefills: two A15Upper circle surrounds: Eight X8Upper circle rears: 3x 4 KIVA ii arraysDome surrounds: four ARCS FocusSubwoofers: Eight KS28, 4x SB18