Wolfram Schild (left) and Martin Sraier-Krügermann from Munich Kammerspiele
programming audio effects in Polaris Touch.
Salzburg, Austria (October 16, 2014)—For this year’s Salzburg Festival, soundscape director Andreas Kriegenburg directed the new production of “Don Juan kommt aus dem Krieg,” which required equipment and engineers that could respond to a high number of cues and microphone signals.
Salzburg Festival’s technical director, Andreas Zechner, chose to use a Salzbrenner Polaris Touch mixing console consisting of three modules for this particular performance.
The production relied on several sound layers—incidental music, street noises and voice effects—which required a solid technical background. For his new production of Ödön von Horváth’s “Don Juan kommt aus dem Krieg,” Kriegenburg decided to work with a continuous soundscape, with partial overlaps of several signals. Given the extremely short preparation time and the high number of signals that needed to be managed in real time, sound engineers/designers Martin Sraier-Krügemann and Wolfram Schild chose a Polaris Touch console from the German manufacturer Salzbrenner.
When it became clear during rehearsals that the 28 available channel strips would not suffice for the production, it was decided to expand the setup with an additional 16-fader module: increasing the channel strip count to 44 was a matter of connecting the console to the existing setup. This allowed the engineers to control all voice effects, war noise collages and the actors’ microphone signals in real time: most actors were almost permanently on stage, so the sound engineers needed to have direct access to all microphone channels.