It can now be revealed that EM Acoustics Reference Series amplifiers were installed at the world-famous Glyndebourne Opera House, nestled in the Sussex countryside, near Lewes, the UK. The new system is designed to enable sound effects, pre-recorded elements or subtle reinforcement to be brought into the acoustic space.
For centuries, opera houses have adhered to a strict tradition of acoustic without amplification. Orchestras comprising anywhere from 60 to 90 musicians and top-tier singers with choruses of up to 50 people have relied solely on the opera houses’ architecture to balance and project sound. Therefore, the upgrade of the PA system at Glyndebourne in time for the summer season was intended to expand artistic possibilities whilst preserving the integrity of traditional opera.
Jonathan Moss, head of sound and video at Glyndebourne, worked closely with the EM Acoustics team to choose the right models. Moss felt the look of the Reference Series loudspeakers fitted in with Glyndebourne’s requirement for subtlety, blending well with the auditorium thanks to their slim form-factor and matte finish.
The sound system at Glyndebourne has been designed to take advantage of the venue’s acoustics. The proscenium PA includes six R12s and two R8s, with two permanent R12s positioned upstage for sound effects. Two R10s and two S-215s are mounted on the balcony for immersive sound effects, using the room’s acoustics to maximise resonance. Four R8s are hung on a round from the ceiling, whilst four S-218 subwoofers are installed underneath the auditorium. A total of nine DQ20 amplifiers and a range of deployable speakers complete the system. The entire foldback system is also EM Acoustics, enabling the orchestra to be played back on-stage for performers.
Moss said: “We knew we didn’t need the biggest boxes, but after much deliberation, we went with the R12s because the frequency response is optimal, and therefore, we need less from the subs,” said Moss. “We’ve got so much headroom, we will rarely use the boxes that hard, so the output is effortless, which helps it to sound so natural.”
He added: “What we’ve built at Glyndebourne is perhaps not how you would expect an auditorium system to be set up. It is a difficult room for a PA, so we needed to be creative, but also keep the loudspeakers as invisible as possible. We’ve used the technology and shape of the room to design a system that uses the acoustic principles of an opera house and gives it a modern spin.”
He concluded: “When someone doesn’t notice it’s amplified, it means we’ve succeeded in keeping the magic of opera alive. That is the biggest compliment we can receive.”
