Upgrading a classic
Published: ASIA
Since his arrival into Singapore in 2001, Robin Shuttleworth has witnessed the states’ skyline transform beyond his imagination. As a technical manager for Esplanade – Theatres on the Bay, he has played his own part by ensuring that the audio technology keeps pace with the ever growing and dynamic nature of the venues during that spell. The modernist yet undeniably impressive arts centre hosts a recital studio, theatre studio and outdoor theatre in addition to the 2,000 seat theatre and 1,600 seat concert hall. The arts centre opened officially on October 12th 2002.
Often featuring visual arts installations, Esplanade’s concourse is flanked by information counters at the entrances to the centre's two main performing venues, serving as a central meeting point for visitors to the centre. For a number of years, dance, music and theatre have been performed free of charge here every evening, to showcase talented amateur, semi-professional and professional artists from Singapore and around the world. It is this small, but highly significant stage that has received Mr Shuttleworth’s attention of late.
‘Since Esplanade opened, we have seen Singapore’s arts community quickly grow around us,’ explains Mr Shuttleworth. ‘Showcasing our venue is important and what better way than showcasing free nightly performances at Esplanade’s Concourse? Not only does it provide passers-by with a sample of what’s going on, it also gives young performers a platform to perform.’
The small loudspeaker system serving the concourse was recently upgraded. ‘Of all the venues, this is probably the most important one for us to get right as it provides an insight to the rest of Esplanade,’ furthers Mr Shuttleworth. ‘It’s a reverberant space with irregular dimensions and with lots of concrete and glass, so you cannot create excessive SPLs. We decided that a small line array would be the best possible solution by providing narrow vertical dispersion. The criteria of loudspeaker we sought were that the solution firstly had to be small and compact. Secondly, it had to be sonically better than the loudspeakers we already have otherwise there’s no point replacing them. Finally, it had to work well within this space and come within the budget provided.’
Five loudspeaker demonstrations were set up over a five week period in early 2014. ‘The performances differ from one night to the next, yet the same technicians work here every night, so by evaluating the five systems over a seven night period, it allowed us to give a better appraisal,’ Mr Shuttleworth explains. ‘We scored the loudspeakers according to various criteria and ultimately selected the loudspeakers that got the top marks.’
The winning demonstration was provided by a d&b audiotechnik T10 system consisting of three dual 6.5-inch speakers per side pole mounted onto an 18-inch woofer V-Sub. Driven by D12 amplifiers rack mounted next to the small stage, M6 monitors also provide stage monitoring and serve as front fills. ‘Esplanade hosts a large inventory of d&b audiotechnik loudspeaker systems in most of its venues, including a C7 and Ci series in the Theatre, so it’s quite fitting that the Concourse, with its’ T10 series, now exemplifies quite accurately what is going on behind closed doors in terms of audio quality,’ continues Mr Shuttleworth. ‘The T10 is a great product and is perfect for the Concourse.’
The d&b audiotechnik SEA team has also supplied a V-series loudspeaker system for the concert hall, to be suspended as a central cluster in place of the existing C7 series when a new projection screen is lowered into place. The new cluster consists of six V12 and two V8 down-fill cabinets, and is more compact than the C7 series models. As a result it does not obstruct the visual entertainment. Meanwhile, Acousti-Teq Asia Pte Ltd has supplied a Cadac CDC four console for the venue’s portable mixing needs. Multi-track recording can be performed by virtue of the MC Madi interface, but the primary function of the 16-fader desk is that of a live sound console. Input channels are increased with a MegaCOMMS stagebox, which comes with an additional 32 inputs and 16 outputs on stage. ‘We originally had a J Type console in the theatre,’ comments Mr Shuttleworth. ‘So it’s great to have a Cadac back at Esplanade.’
The original Stage Manager consoles have also been replaced. Mr Shuttleworth established a working relationship with Matthew Lloyed of UK manufacturer GDS after meeting at the Frankfurt Pro Light & Sound trade show several years ago. Supplied by Electronics & Engineering Pte Ltd, the custom designed and built Stage Manager consoles fit the bespoke needs of each theatre they serve. The screen operations have been customised by integrating Sierra Video software and are further loaded with a Clear-Com intercom unit, Klein & Hummel monitors and an Ashly MX-206 stereo splitter / mixer for providing direct microphone inputs between the stage director, choreographer and stage manager. In addition to a digital clock, humidity, temperature and SPL calibrations can be monitored, whilst the height of each console can be silently adjusted courtesy of integrated hydraulics.
‘We provided them with every little nuance of what we required and they have carefully crafted these wonderful desks that even come with iPhone chargers and a recessed electronics panel at the rear,’ enthused Esplanade’s systems specialist Immanuel Poh.
Esplanade was the iconic property on Marina Bay when it opened its doors 12 years ago, but in the Singapore of 2014 it has to compete for audiences with its new and somewhat ostentatious neighbours. As such, it has had to continually work harder and smarter in order to maintain an audience. The audio management team headed by Mr Shuttleworth and Simon Ng know that they have a Formula One racing car in their possession, but they have to properly maintain it in order to stay in pole position.
‘We have a super-fast vehicle and we need to drive it correctly,’ Mr Shuttleworth concludes. ‘All the staff here grew up in the same play pen together all those years ago and have learnt so much over the years. Collectively we share levels of technical ability that cannot be substituted.’