{"id":1717,"date":"2019-10-13T18:19:06","date_gmt":"2019-10-13T18:19:06","guid":{"rendered":"https:\/\/pdbmusic.com\/?p=1717"},"modified":"2019-10-13T18:30:30","modified_gmt":"2019-10-13T18:30:30","slug":"theatre-du-vieux-colombier-installs-amadeus","status":"publish","type":"post","link":"https:\/\/pdbmusic.com\/index.php\/2019\/10\/theatre-du-vieux-colombier-installs-amadeus\/","title":{"rendered":"\u2018Th\u00e9\u00e2tre du Vieux-Colombier\u2019 Installs Amadeus"},"content":{"rendered":"

Com\u00e9die Fran\u00e7aise\u2019s second theatre just underwent an in-depth overhaul of its scenographic infrastructure, with a completely redesigned sound system implemented by Paris-based Amadeus with its HOLOPHONIX processor<\/strong><\/p>\n

\"400-Theatre-du-Vieux-Colombier\"<\/a>Amadeus has announced the install of their HOLOPHONIX sound processor along with a variety of Amadeus speakers and subwoofers creating a new re-imagined immersive sound system at the Th\u00e9\u00e2tre du Vieux-Colombier. Built in the heart of the Saint-Germain-des-Pr\u00e9s Parisian district, the Th\u00e9\u00e2tre du Vieux-Colombier hosts at least four creations each season involving classical or contemporary texts, presented in a series from September to the beginning of July.<\/p>\n

In 1993 the Th\u00e9\u00e2tre du Vieux-Colombier became the second theatre for the Com\u00e9die Fran\u00e7aise. Originally created in 1913 by Jacques Copeau, this major French cultural institution was founded in 1680 and has been hosted since 1799 in the Palais-Royal\u2019s Salle Richelieu (Paris\u2019 1st<\/sup> arrondissement). The Th\u00e9\u00e2tre du Vieux-Colombier was created according to a \u2018drama renovation\u2019 concept, as opposed to the commercial activity of the \u2018Grand Boulevard\u2019 theatres on Right Bank of the Seine.<\/p>\n

Jacques Copeau established an alternate scheme and his theater company was very active in the Vieux-Colombier, especially with actor Charles Dullin, and theater manager and director Louis Jouvet. In 1924, Copeau left to lead a comedy theater troupe in Burgundy, but artistic creation lived on in the Vieux-Colombier as consecutive managers opened the space to avant-garde cinema, and then jazz concerts. Threatened with closure, the theatre was bought by the French government in 1986, becoming the second Com\u00e9die Fran\u00e7aise hall on April 9th<\/sup>, 1993.<\/p>\n

In recent months, the Th\u00e9\u00e2tre du Vieux-Colombier underwent an in-depth renovation of its stage infrastructure \u2013 mainly flies, scenic networks, etc. The electro-acoustical system was also completely redesigned too, in close collaboration with the theater\u2019s technical manager Philippe Lagrue, along with Dominique Bataille, a multidisciplinary creator, sound engineer, and composer, who has worked over the few last years at the Th\u00e9\u00e2tre du Vieux-Colombier.<\/p>\n

Dominique Bataille worked in the Grande Halle de la Villette during the 1990s then collaborated with Patrice Ch\u00e9reau and Jean-Pierre Vincent in the Th\u00e9\u00e2tre Nanterre-Amandiers. Starting in 2009 he began to compose music for the Com\u00e9die-Fran\u00e7aise, and he works in parallel with composers Pascal Dusapin, James Dillon, Wolfgang Mitterer, and Oscar Bianchi.<\/p>\n

The electro-acoustical system designed by Amadeus and Dominique Bataille is now built around a HOLOPHONIX spatial sound processor, developed by Amadeus, in collaboration with the STMS (Sciences et Technologies de la Musique et du Son), a laboratory founded in 1995 and hosted in the IRCAM premises, association of CNRS, Sorbonne Universit\u00e9, Minist\u00e8re de la Culture and Institut de Recherche et Coordination Acoustique\/Musique.<\/p>\n

Dominique Bataille was one of the first users, operators, and beta-testers of the HOLOPHONIX processor. He was deeply involved in the development, mainly to define the main features that were essential to theatrical creation, and their ergonomics.<\/p>\n

The main sound system is designed according to a semi-spherical concept to get the best envelopment for spectators and adapted to the geometrical shape of the hall\u2014a parallelepiped\u2014and the technical and aesthetic constraints imposed by the hall. The system comprises 23 speakers made by Amadeus plus the HOLOPHONIX spatial sound processor.<\/p>\n

Ten Amadeus PMX 8 MKII speakers\u00a0\u2013 five on each side along the whole theater floors\u2019 depth\u00a0\u2013 were seamlessly integrated into lateral \u2018arches\u2019 of the wooden frame evoking a boat\u2019s overturned hull. They are supplemented by eight Amadeus PMX 5 MKIV speakers that are integrated into the upper \u2018arches\u2019 in zenithal position.<\/p>\n

The L\/C\/R front system is made of three new triaxial Amadeus C15 speakers, co-developed with the Th\u00e9\u00e2tre National de Chaillot. The sub-bass reinforcement system is built around two slim ABB 15 speakers, which were initially developed for the Th\u00e9\u00e2tre des Abbesses (hence the ABB acronym).<\/p>\n

\u201cAround twenty Amadeus MPB 200 B speakers \u2013 in place since the previous redesign in 1993 \u2013 are sometimes used as a punctual sound source, onstage, in the flies or under the stage, according to projects and creations, enabling spatial illusions we love to imagine and to offer to the theatre audience. The speakers are actually declared as bus \u2018virtual outputs\u2019 and processed by the HOLOPHONIX processor using various spatialization techniques,\u201d <\/em>Dominique Bataille explains.<\/p>\n

The HOLOPHONIX processor allows sound designers to mix, reverberate, and spatialize sound elements output from various devices using different spatialization techniques, and to combine these techniques (or algorithms) in real time. The processor can handle a nearly limitless number of busses (or \u2018spatializers\u2019), each one running an embedded spatialization algorithm, including Higher-Order Ambisonics (2D, 3D), Vector-Base Intensity Panning (2D, 3D), Vector-Base Amplitude Panning (2D, 3D), Wave Field Synthesis, Angular 2D, k-Nearest Neighbor, Stereo Panning, Stereo AB, Stereo XY, Native A-Format Ambisonics, Native-B Format Ambisonics, and Binaural.<\/p>\n

\u201cOver three years ago, Christian Hecq and Val\u00e9rie Lesort had taken up the challenge to create Vingt Mille Lieues Sous les Mers<\/em> (\u201cTwenty Thousand Leagues Under The Sea\u201d), an \u2018all-audience\u2019 spectacle involving actors and puppets. This show was nominated four times at the 26th<\/sup> Moli\u00e8res Award ceremony, and won a Moli\u00e8re Award for <\/em>\u2018Best Visual Creation\u2019. After a French tour last year, the show came back on the stage it was premiered on, the Th\u00e9\u00e2tre du Vieux-Colombier, from November 7th<\/sup>, 2018 to January 6th<\/sup>, 2019,\u201d <\/em>adds Bataille, the composer of the almost 90-minute long sound creation underlining the theater spectacle.<\/p>\n

\u201cAs the show returned to the Vieux-Colombier in 2018, we were able to re-work the original sound creation \u2013 originally completed with traditional techniques\u00a0\u2013 adding elements and magnifying it with new \u2018object-oriented\u2019 mixing and spatialization tools now available in the Th\u00e9\u00e2tre du Vieux-Colombier. The various poly-algorithmic spatialization techniques available in the HOLOPHONIX processor open an almost limitless creative field. We could thus make our own Ambisonic recordings and present them through HOLOPHONIX without any decoding, move several hundred sound elements in 2D or 3D, create an intriguing or oppressive sound space, a genuine trip to the deepest abyss, thanks to the included reverb settings,\u201d<\/em> concludes Bataille.<\/p>\n

List of the Amadeus speakers installed in the Th\u00e9\u00e2tre du Vieux-Colombier
\nAmadeus C15 (1 x 15\u2019\u2019 LF ; 1 x 3.5\u2019\u2019 MF, 1 x 1.75\u201d HF): 3 units
\nAmadeus ABB 15 (1 x 15\u2019\u2019 LF): 2 units
\nAmadeus PMX 8 MKII (1 x 8\u2019\u2019 LF ; 1 x 1.7\u2019\u2019 HF): 10 units
\nAmadeus PMX 5 MKIV: 8 units<\/p>\n

List of Powersoft amplifiers installed in the du Th\u00e9\u00e2tre du Vieux-Colombier
\nPowersoft Duecanali 1604 DSP+DANTE: 3 units
\nPowersoft Quattrocanali 4804 DSP+DANTE: 1 unit
\nPowersoft Quattrocanali 2404 DSP+DANTE: 5 units<\/p>\n

About Amadeus
\nSince more than twenty years, Amadeus develops, manufactures and sells a wide range of high-end sound reinforcement loudspeakers, studio monitors and high-end peripherals, allying high-level technologies, elegance and emotion. Created in 1992 from the meeting between French designer Bernard BYK and scientist Michel DELUC, Amadeus reputation grew and the brand became an essential reference for all audio professionals. A leading supplier of high-end audio solutions and services for theaters, opera houses, museums, recording studios, research centers and touring concert sound rental operations, Amadeus client list includes French customers like Institut de Recherche et Coordination Acoustique\/Musique (IRCAM), Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es, Th\u00e9\u00e2tre National de Marseille, Op\u00e9ra de Lyon, Philharmonie de Paris, Cit\u00e9 de la Musique, Ga\u00eet\u00e9 Lyrique, and many more.. All development and product manufacturing is centralized in Amadeus headquarters in France, with field offices and authorized distributors located in Europe, Asia, and United Arab Emirates.<\/p>\n

For more info, contact Amadeus at info@amadeusaudio.fr or visit http:\/\/www.amadeuslab.com<\/a><\/p>\n

Amadeus and HOLOPHONIX are registered trademarks of Amadeus France. All rights reserved. All other registered trademarks are the property of their respective owners.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Com\u00e9die Fran\u00e7aise\u2019s second theatre just underwent an in-depth overhaul of its scenographic infrastructure, with a completely redesigned sound system implemented…
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