“This arrangement allowed me to route the microphones to the various speakers, which I had positioned in ring around the stage,” he says. “At certain points during the performance the audience hears audio clips from a Richard Feynman interview. This arrangement allowed me to direct his voice through various speakers so that is sounded as though he was in a number of different places. The overall effect was really successful because you feel a wonderful sense of directional placement and space.”
With people all over the stage it was also important to highlight the sound of various instruments so they could be heard by everyone. A selection of d:vote™
4099 Instrument Microphones and d:screet™
4061 Miniature Omnidirectional microphones were used to great effect and their input was incorporated into the multitrack mix.
“I had lots of direct sounds to play with, as well as the ambient sound from the d:dicate™
4011As,” Honywill says. “All the mics were radio mics and I made sure to set up the overhead mics so there was coverage of the entire area with minimal chance of feedback. I could have done this project with different microphones but I chose DPA because they always give me the results I want. Predictable sound between each microphone was really important, as was knowing how far I could push the microphones before anything distorted. They gave me a very even soundfield, which was what I needed – and they also gave me a sound I really like, which is why I use them all the time.”
Since its premier at the Bristol Old Vic in May 2018, The Nature of Why
has been performed at the Queen Elizabeth Hall in London and is about to travel to Perth in Australia. It will then return to the UK for performances in Cardiff and Brighton later this year.