{"id":13977,"date":"2021-05-04T19:00:10","date_gmt":"2021-05-04T17:00:10","guid":{"rendered":"https:\/\/www.l-acoustics.com\/?post_type=hot-news&p=13977"},"modified":"2023-01-31T11:30:56","modified_gmt":"2023-01-31T10:30:56","slug":"from-fervour-to-ferocity-l-acoustics-brings-supercharged-fangirls-to-new-audio-heights","status":"publish","type":"press-release","link":"https:\/\/www.l-acoustics.com\/fr\/press-releases\/from-fervour-to-ferocity-l-acoustics-brings-supercharged-fangirls-to-new-audio-heights\/","title":{"rendered":"From Fervour to Ferocity, L-Acoustics Brings Supercharged FANGIRLS to New Audio Heights"},"content":{"rendered":"\n

A and X Series deliver punch and clarity for award-winning Australian musical <\/em><\/em><\/em><\/em><\/em><\/p>\n\n\n\n

\n\n\n\n

Adelaide, Australia \u2013 May 2021<\/strong> \u2013 Written by Australian playwright, screenwriter, and composer Yve Blake, FANGIRLS<\/a> is a co-production with Belvoir, Queensland Theatre<\/a>, and Brisbane Festival<\/a>, in association with Australian Theatre for Young People (ATYP)<\/a>. It is the joyous chronicle of 14-year-old Edna, a diehard fan of the world\u2019s biggest boy band, True Direction. Inspired by Blake’s interviews with hundreds of teenage fangirls, the musical is a witty and heartwarming exploration of the misunderstood cultural phenomenon of being a fangirl and their critical role in the music industry. Currently touring Australia, the multi-award-winning musical recently played to full capacity audiences at Adelaide Events and Exhibition Centre\u2019s Ridley Pavilion, as part of the Adelaide Festival. To deliver the right punch and clarity for the musical that both music producer and sound designer David Muratore and sound designer Michael Waters had envisioned, Novatech supplied an L-Acoustics system for the festival dates.

While FANGIRLS\u2019 creators Blake and Muratore, had spent five years developing the production with musical director and vocal arranger Alice Chance and dramaturg Jonathan Ware, the team had never staged a show before. Needing someone who had a theatre design background to guide them through the process, they turned to Waters for his expertise in theatre sound design.

The show\u2019s cast is small, with between seven and nine actors, depending on the version being staged, and almost all the music is pre-recorded except for a MIDI keyboard played in the middle of the show as the only live component. Waters was charged with bringing the pre-recorded music to life. He suggested to Muratore that a substantial proportion of the show should be in surround sound to break up the musical components and give it some 3D texture. \u201cHaving done smaller shows before, I know there\u2019s always some disparity between the vocal and the backing track,\u201d says Waters. \u201cWhat you really want is for the audience to believe there\u2019s a band there, so part of what I wanted to bring was cohesion between cast and music.\u201d

Novatech<\/a> is a long-standing partner of the Adelaide Festival, supporting its premier events every year. The Novatech team understands the challenges presented by Ridley Pavilion, which require a unique rigging design that will work within limited weight capacities. Novatech\u2019s James Sacca, who worked alongside project manager Nell Kirsten on the project, suggested a combination of L-Acoustics ARCS<\/a> and X Series<\/a> to provide the coverage and sonic quality required within the restrictions of the weight limits of the venue. \u201cAlongside my freelance work, I have a full-time job with JPJ Audio<\/a> which has a large inventory of L-Acoustics. I\u2019m a huge fan of L-Acoustics and of ARCS in particular, which delivers full range sound and a good healthy bottom end. Its coplanar horn just throws and is so brilliantly voiced,\u201d says Waters. \u201cWe\u2019d been using in-house systems earlier in the tour, and when the show spent a month at the Belvoir St Theatre<\/a> in Sydney I augmented the system there with some L-Acoustics 112P<\/a> to get the results I wanted. Later, when Novatech suggested we change to an all L-Acoustics system for the Adelaide shows, I was delighted.\u201d

Waters\u2019 final design comprised 12 L-Acoustics ARCS Wide as main left and right system, with four cabinets per side and an additional two for the seating banks and four SB28<\/a> subs, two under each seating bank, supplied low end. A further two ARCS Wide provided fill, while 14 X8<\/a> were used for surround with six X4i<\/a> for frontfill and a further six for foldback. Four 112P were used as over stage FX speakers. The entire system was driven with LA8<\/a> amplified controller.

\u201cOne of the big advantages I find with the system is that I know where the dispersion cut-offs are going to be for the cabinets. That\u2019s hugely important and meant that once I\u2019d produced the design in Soundvision, all I needed to do was email my Soundvision file to Novatech and I was confident the result would be perfect before I even arrived at the venue,\u201d explains Waters.

\u201cWe\u2019re really happy with the final results,\u201d concludes Sacca. \u201cThe sound design was something truly special and brought the story about the power of young women to life. The client and patrons alike were incredibly impressed with the final presentation of this uproarious show, which received rave reviews.\u201d

The Guardian\u2019s recent review, one of many glowing write-ups, backs up Sacca\u2019s assertion: \u201cWhen you\u2019re in the FANGIRLS experience, everything comes together to giddy winks and electric feelings. After months of darkened stages, after the loss of casual crush-laced conversations, stadium concerts, and the opportunity to raise your phones with torches on and sing along to a song, FANGIRLS recreates these moments and reminds us why they matter.\u201d

The FANGIRLS tour wraps on May 9th, 2021.<\/p>\n\n\n\n

\n\n\n\n
  • \"LA_FANGIRLS_1.jpg\"
    FANGIRLS played to full capacity audiences at Adelaide Events and Exhibition Centre\u2019s Ridley Pavilion as part of the Adelaide Festival, with L-Acoustics ARCS and X Series delivering both sonic punch and clarity. \u00a9 Brett Boardman<\/figcaption><\/figure><\/li>
  • \"LA_FANGIRLS_4.jpg\"
    L-Acoustics ARCS and X Series provided the coverage and sonic quality required within the restrictions of the weight limits of the venue. \u00a9 NCET<\/figcaption><\/figure><\/li>
  • \"LA_FANGIRLS_5.jpg\"
    L-Acoustics X4i were used for both frontfill and foldback. \u00a9 NCET<\/figcaption><\/figure><\/li>
  • \"LA_FANGIRLS_6.jpg\"
    L-Acoustics X4i were used for both frontfill and foldback. \u00a9 NCET<\/figcaption><\/figure><\/li>
  • \"LA_FANGIRLS_2.jpg\"
    FANGIRLS played to full capacity audiences at Adelaide Events and Exhibition Centre\u2019s Ridley Pavilion as part of the Adelaide Festival, with L-Acoustics ARCS and X Series delivering both sonic punch and clarity. \u00a9 Brett Boardman<\/figcaption><\/figure><\/li>
  • \"LA_FANGIRLS_3.jpg\"
    FANGIRLS played to full capacity audiences at Adelaide Events and Exhibition Centre\u2019s Ridley Pavilion as part of the Adelaide Festival, with L-Acoustics ARCS and X Series delivering both sonic punch and clarity. \u00a9 Brett Boardman<\/figcaption><\/figure><\/li><\/ul><\/figure>\n","protected":false},"excerpt":{"rendered":"

    A and X Series deliver punch and clarity for award-winning Australian musical Adelaide, Australia \u2013 May 2021 \u2013 Written by Australian playwright, screenwriter, and composer Yve Blake, FANGIRLS is a co-production with Belvoir, Queensland Theatre, and Brisbane Festival, in association with Australian Theatre for Young People (ATYP). 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