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‘Harry Potter and the Cursed Child’ Casts Audio Magic to Every Seat in the House

Sound designer Gareth Fry relies on d&b audiotechnik to bring the magic of Harry Potter to life for audiences and theaters around the world.

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When show producers welcome throngs of enthusiastic Harry Potter fans to the live stage production of Harry Potter and The Cursed Child, they want to immerse the audience in a show experience like no other.

Based on an original story by J.K. Rowling, Jack Thorne, and John Tiffany, Harry Potter and the Cursed Child is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage.

Following such a magical history of wildly successful novels and films, audience expectations are exceptionally high.

With demanding production requirements, show producers turned to multi-award-winning sound designer Gareth Fry, and his experience with technologies from d&b audiotechnik, to cast a spell over the audience.

“There’s a big responsibility when you’re working with such iconic characters and stories; the audience has a strong, emotional attachment to what’s happening on stage,” said Fry. “With such an invested audience, we’re under pressure to produce the best show we can.

“There are big, epic scenes with lots of characters, and then there are also very quiet scenes where it’s just two people talking. We need to make sure every seat in the house hears everything perfectly,” he said.

Harry Potter And The Cursed Child

Inside ‘Harry Potter and the Cursed Child’

Director John Tiffany demanded that the sound quality be exceptional and that every production in each location have the same level of quality as the London production, or better, said Fry.

This means Fry and the team needed a sound system that could not only deliver the required quality and control to cover every seat in the house, but also flexible enough to work within a wide variety of theaters around the world — each with very different architectural and acoustic challenges.

“There are a lot of illusions in the show, and magic often requires support from sound and lighting and costume and props — it’s a very multidisciplinary thing to make these illusions seem magical,” he said.

“All of the magic is done live in front of the audience, and good sound is absolutely key to making sure the illusion works for every audience in every venue,” he said.

Related: London’s Royal Albert Hall Gets New Sound System

The ArrayCalc software from d&b was a key component Fry used in his sound system design for the shows. ArrayCalc is a simulation tool for d&b sound systems that allows designers to model the acoustic design, performance prediction, alignment, rigging, and safety parameters for specific venues.

With ArrayCalc, listening planes can be defined to create a three-dimensional representation of any audience area in a given venue.

The sound level distribution resulting from the interaction of all active sources can be mapped onto the previously defined audience areas in a three-dimensional view, which can also be zoomed, rotated, and exported as a graphics file.

“ArrayCalc allowed us to predict in advance what a theater will sound like,” said Fry. “The software has also been very useful in terms of working with other production departments and negotiating speaker positions and other logistic concerns.”

A d&b Y-Series sound system was primarily used in the London, New York, Melbourne and San Francisco productions, using a mix of line-array and point source elements, supplemented with E-Series cabinets for fill speakers.

d&b V-Series was also used in some venues where a longer throw was required. The Y-Series combines broadband directivity control with extended low-frequency performance in a compact, unobtrusive design.

Featuring rotatable horns, the lightweight Y7P and Y10P point source loudspeakers offer horizontal dispersion angles of 75° and 110° respectively and ensure horizontal directivity control down to 500 Hz; beneficial especially in reverberant or acoustically challenging environments.

The 3-way passive V-Series comprises both line array and point source systems for medium- to large-scale sound reinforcement applications, with complete efficiency and broadband directivity control to low frequencies.

The 3-way passive V8 and V12 line array loudspeakers provide 80° and 120° horizontal dispersion, respectively, maintained down to 250 Hz. The V-Series point source loudspeaker is a single box solution, ideal for any application where sightlines, weight, or amplifier channel requirements dictate that a small line array isn’t appropriate.

Harry Potter and the Cursed Child has become the most awarded London West End play in the history of the Olivier Awards, winning a record-breaking nine awards, including Best New Play, Best Director and Best Sound Design in 2017.

It also received multiple Tony Awards, including Best Sound Design, for the Broadway production in New York. There are other productions ongoing in Melbourne, San Francisco and Hamburg and future productions have been announced in Toronto and Tokyo.

“The show has been incredibly well received by audience members and critics alike, so we couldn’t be happier,” said Fry.

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