February 25, 2022
Ultra-Wide Stage Is No Match for L‑Acoustics L‑ISA at Tampere Workers’ Theatre

Tampereen Työväen Teatteri (Tampere Workers’ Theatre) which is one of the county’s main theatres. Its recently updated sound system features L‑ISA Immersive Hyperreal Sound technology, chosen both with audio excellence and the future in mind and to address historic localization issues caused by the venue’s extensively wide stage.

TAMPERE, Finland – November 2020 – Nestled between the two lakes, Näsijärvi and Pyhäjärvi, Tampere is listed on MoveHub’s world’s most popular hipster spots and, with the most saunas in one city, is considered the ‘Sauna Capital of the World.’ The city is also home to the Tampereen Työväen Teatteri (Tampere Workers’ Theatre), fondly referred to by locals as the TTT-Theatre, which is one of the county’s main theatres. Its recently updated sound system features L‑ISA Immersive Hyperreal Sound technology, chosen both with audio excellence and the future in mind and to address historic localization issues caused by the venue’s extensively wide stage.

The curved stage lip at TTT-Theatre measures a full 20 meters wide, likely one of the widest in Finland: This means that no matter where loudspeakers are placed in a standard configuration, the sound is not properly localized for the audience. In addition to this, the audio team struggled with gain before feedback.

To address the key issue of localization, L‑Acoustics Application Engineer Oskar Meijer designed a configuration using L‑ISA design methodology, allowing the frontal hangs to precisely follow the curve of the stage lip while ensuring L‑ISA quality mapping specs were met. “This made it possible for the loudspeakers to be in front of the actors, who would inevitably come to the front of the stage during their performance,” says Molnár.

The frontal system’s final configuration comprises seven ‘Scene’ arrays of three L‑Acoustics A10 in vertical mode with two other hangs in horizontal mode to provide outfill duties. The horizontal deployment option enables sharp horizontal pattern control that minimizes spill into the spatialized L‑ISA zone. The system configuration follows the stage lip, with six KS21 subs flown behind the center hang. Ten 5XT are evenly spaced across the stage lip for frontfill.

For the surround system, 12 X8 coaxial speakers are distributed evenly around the auditorium’s side and rear walls. A further 11 X8, split into three rows of three, four, and four speakers per row, are suspended from the ceiling. Finally, two additional X8 provide balcony fill on the left and right sides.

As for the audio distribution, Molnár explains, “This is a redundant system employing AVB as the primary signal with AES for backup. We have a neat solution using the brand new LS10 Milan-certified switch from L‑Acoustics to distribute AVB to the LA4X amplified controllers. Amps are located in three different positions, plus there is a separate room with a further ten amplifiers.”

“When we all heard L‑ISA in the venue for the very first time, it was one of those ‘goosebump’ moments,” Molnár exclaims. “Everybody at TTT-Theatre suddenly realized just what they have bought. It was deeply moving to see people’s faces, all silenced and astonished by the sound quality.”

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