d&b audiotechnik’s Soundscape platform is playing a central role in the audio design of Paddington The Musical, which has opened at London’s Savoy Theatre to strong critical reception.
d&b audiotechnik’s Soundscape platform is playing a central role in the audio design of Paddington The Musical, which has opened at London’s Savoy Theatre to strong critical reception.
The world-premiere production is sound designed by Gareth Owen, who has made extensive use of d&b Soundscape’s object-based spatial audio capabilities alongside the manufacturer’s CCL loudspeaker system. The combination is being used to support the show’s storytelling by placing voices and sound elements precisely within the theatre, while maintaining clarity and consistency across the auditorium.
Gareth Owen Sound crew, Paddington The Muscial at the Savoy Theatre
Owen, a long-time advocate of d&b Soundscape, has previously deployed the system on productions including Come From Away in the West End and MJ: The Musical on Broadway. For Paddington The Musical, the focus was on creating an immersive yet natural listening experience that supports the emotional arc of the show without drawing attention to the technology behind it.
The Soundscape system at the Savoy Theatre is built around two DS100 signal engines running in main and redundant configurations. Performer location data is supplied via a Zactrack Smart tracking system, allowing sound objects to follow cast members accurately in real time. Show snapshots and cues were programmed using d&b En-Snap software, enabling consistent object positioning and levels from performance to performance.
According to Owen, this approach allows reinforcement to remain effectively transparent. By aligning audio with on-stage action, Soundscape helps maintain a sense of realism that supports audience immersion rather than competing with it.
A notable element of the installation is the use of d&b’s new CCL loudspeakers for the main PA. The system comprises five CCL8 arrays across the front of the stage, with an additional five arrays mounted on a forward truss to cover the gallery. Low-frequency support is provided by a flown XSL-SUB array.
Owen describes the Savoy Theatre as a particularly demanding acoustic environment, with highly reflective surfaces and restrictions on acoustic treatment due to its listed status. In this context, the constant directivity of the CCL system proved critical. The controlled dispersion allows sound to be tightly focused on the audience areas while minimising reflections from walls and ceilings.
The designer points to the consistency of tonal balance across seating positions, as well as the reduced rear radiation of the CCL arrays, as key factors in achieving the desired result. He says the level of control provided by the system was essential to delivering the clarity and localisation required for the Soundscape mix to function effectively in the space.
Top image credit: Johan Persson