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German theatre\u00a0<\/span>Sc<\/span>hauspielhaus<\/span>\u00a0<\/span>Bochum<\/span>\u00a0<\/span>has\u00a0<\/span>recently<\/span>\u00a0completed a<\/span>\u00a0major<\/span>\u00a0<\/span>installation\u00a0<\/span>featuring\u00a0<\/span>multiple\u00a0<\/span>Allen & Heath\u00a0<\/span>dLive<\/span>\u00a0systems<\/span>,\u00a0<\/span>alongside<\/span>\u00a0new digital network technology<\/span>\u00a0across\u00a0<\/span>a<\/span>ll of<\/span>\u00a0it<\/span>s venues and finished a successful first season with the new systems<\/span>.<\/span>\u00a0<\/span>\u00a0<\/span><\/p>\n Schauspielhaus\u00a0<\/span>Bochum is one of the biggest and most acclaimed theatres in Germany<\/span>.\u00a0<\/span>Founded in\u00a0<\/span>1907<\/span>,<\/span>\u00a0it was completely destroyed in World War II and rebuilt in the 1950s with a capacity of\u00a0<\/span>811<\/span>\u00a0seats<\/span>. A second theatr<\/span>e \u2013<\/span>\u00a0the<\/span>\u00a0400-capacity\u00a0<\/span>Kammerspiele\u00a0<\/span>opened its doors in 1966.\u00a0<\/span>Former directors of the theatre include<\/span>\u00a0<\/span>big names like Peter Zadek, Claus Peymann\u00a0<\/span>and<\/span>\u00a0Leander Hau\u00dfmann.<\/span>\u00a0<\/span>\u00a0<\/span><\/p>\n Christoph Bonk has\u00a0<\/span>worked<\/span>\u00a0in the sound department\u00a0<\/span>for<\/span>\u00a028 years and has seen many technical changes during that time<\/span>.\u00a0<\/span>Hi<\/span>s<\/span>\u00a0final goal as Technical Director was to guide the theatre into the future of digital technology and networking.\u00a0<\/span>\u00a0<\/span><\/p>\n \u201cIn Bochum we offer many different genres<\/span>\u00a0\u2013<\/span>\u00a0classical theatre<\/span>\u00a0and\u00a0<\/span>musicals but also concerts<\/span>, so\u00a0<\/span>we have to be very flexible in the sound department<\/span>,\u201d<\/span>\u00a0explains<\/span>\u00a0Bonk.\u00a0<\/span>\u201c<\/span>We reali<\/span>s<\/span>ed that our workflow wasn<\/span>\u2019t<\/span>\u00a0up-to-date anymore and we\u2019<\/span>ve been looking<\/span>\u00a0for the perfect solution for<\/span>\u00a0this theatre to\u00a0<\/span>address that<\/span>.\u00a0<\/span>We needed flexibility, redundancy, good sound and wanted to be futureproof \u2013 dLive ticked all these boxes for us.\u201d<\/span>\u00a0<\/span><\/p>\n The two main venues\u00a0<\/span>d<\/span>eploy<\/span>\u00a0<\/span>three<\/span>\u00a0<\/span>dLive<\/span>\u00a0surfaces each<\/span>,\u00a0<\/span>an<\/span>\u00a0S700<\/span>0, S3000\u00a0<\/span>a<\/span>nd C1500<\/span>\u00a0in the Main Theatre<\/span>\u00a0and\u00a0<\/span>an<\/span>\u00a0S7000,\u00a0<\/span>C3<\/span>500 and<\/span>\u00a0a<\/span>\u00a0<\/span>C1500<\/span>\u00a0in the\u00a0<\/span>Kammerspiele<\/span>,<\/span>\u00a0plus various\u00a0<\/span>MixRacks<\/span>\u00a0and s<\/span>tage<\/span>\u00a0boxes<\/span>, which are connected via CAT and fibre networks<\/span>.<\/span>\u00a0<\/span>The theatre also uses Qu series mixers in its smaller spaces and for receptions or speeches.<\/span>\u00a0<\/span><\/p>\n \u201c<\/span>For<\/span>\u00a0larger or more complicated plays we sometimes work<\/span>\u00a0<\/span>with two sound engineers and surfaces,\u201d says Bonk. \u201cOne engineer\u00a0<\/span>mixes<\/span>\u00a0the\u00a0<\/span>actors\u2019\u00a0<\/span>microphones, the other\u00a0<\/span>looks\u00a0<\/span>after the playback system<\/span>.<\/span>\u00a0<\/span>The m<\/span>ost important<\/span>\u00a0features for us are\u00a0<\/span>fast\u00a0<\/span>access to the sound parameters and effects and a customi<\/span>s<\/span>able surface<\/span>.<\/span>\u00a0The integration of stage boxes<\/span>\u00a0<\/span>into the network is very easy and we can reach each position on stage easily by just pulling a CAT cable \u2013\u00a0<\/span>there\u2019s\u00a0<\/span>no need for heavy, complicated multicore cables anymore<\/span>.<\/span>\u00a0Our 16 wireless microphone<\/span>s<\/span>\u00a0are connected digitally using AES\/EBU<\/span>.<\/span>\u201d<\/span>\u00a0<\/span><\/p>\n By using\u00a0<\/span>a very similar<\/span>\u00a0setup at the different venues, the theatre can react easily to changes of audience reception and can move a play quickly from one venue to the other<\/span>.<\/span>\u00a0<\/span>\u201cEach engineer<\/span>\u00a0<\/span>can save a show including all channel processing and effects<\/span>\u00a0<\/span>on an USB stick<\/span>,\u00a0<\/span>go to another venue<\/span>,\u00a0<\/span>load it there and continue working on the play,\u201d says Bonk. \u201cWe don\u2019t have to reprogram everything when moving between venues which saves a lot of time.\u201d<\/span>\u00a0<\/span><\/p>\n The new digital technology also\u00a0<\/span>helped in other areas of workflow<\/span>,\u00a0<\/span>\u201cAnother big advantage of dLive is that we can work with scenes,\u201d Bonk continues. \u201cScenes can be saved as part of a show and can be edited any<\/span>\u00a0<\/span>time<\/span>.<\/span>\u00a0Working with dLive and our\u00a0<\/span>Ableton Live<\/span>\u00a0<\/span>playback system<\/span>\u00a0is very easy as well<\/span>.\u00a0<\/span>We can start and control Ableton from the surface or the other way\u00a0<\/span>around<\/span>\u00a0if we wish.\u201d<\/span>\u00a0<\/span><\/p>\n![\"\"](\"\/en\/wp-content\/uploads\/sites\/8\/Schauspiel-Bochum-2-1024x576.jpg\")
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