Litterature, mathematical forumals and other thoughts on the theretical aspects of WFS.
You are a venue concerned with keeping your technicians up to date with the latest know-how in sound reinforcement?
You work as a sound designer for a theatre or dance company and you would like to have develop your writing of soundscapes on stage?
You are a training centre and you would like to give your trainees tools they can go home with, tools they can keep using after the course is finished?
Get in touch with us for any training in WFS!
Milo Rau’s Histoire(s) du Théâtre 1 – La Reprise piece was shown at the GREC festival in Barcelona, not far from Toulouse. A great opportunity to try out the WFS system instead of the regular FOH system with an extra pair of speakers upstage. (more…)
WFS can also be used for theatrical sound design to play soundtracks, Foley or prerecorded speech, add a sonic character to a prop or to reinforce voices. But what are the limits of realism from a technical stand point as well as from the dramaturgy?
Here are a few pointers regarding routing between a console and a WFS processor. The console is there to preprocess all the signals from the microphones, recorded or synthesis tracks and send them to the WFS processing. After this the output signals have different options depending on the console’s possibilities. (more…)