The company was called in to take over the sound design for the production for the first time since its stage debut four years ago. Terry Jardine’s new design makes sole use of the Meyer Sound loudspeaker range, including the MSL-2, UPA-1C and UPM-1. A 70-input Cadac J-type mixing console is also in use, along with a 28-channel Sennheiser radio microphone system.
Simon Baker, a leading member of the Autograph sound design team, worked alongside Terry as one of two associate designers, creating over 100 new sound effects for the production, with a standalone system utilizing a Yamaha 03D and two Akai S6000s. Autograph's Chris Full also played the role of associate designer, supervising the installation and the orchestral mix. With only ten days from get-in to the first public performance, the team coordinated the installation perfectly, overcoming the enormous task of rigging, positioning and equalizing the 67 Meyer Sound loudspeakers around the auditorium.
