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Pierre-André Aebischer uses Yamaha Stagepas 1K systems to showcase immersive live sound

Lausanne, Switzerland-based lighting designer Pierre-André Aebischer has recently started using eight Yamaha Stagepas 1K portable PA systems under the banner of Superdiff.com for a range of immersive audio projects. These have included the Stokata.io ‘invisible orchestra’ project, a one-off show Les Grands Espaces, as well as a regular experimental multi-channel event Immersive, demonstrating how immersive sound can improve the live experience.

“I needed some small, portable multi-channel line arrays for a system which could demonstrate immersive audio in a live music situation,” says Aebischer. “I needed narrow vertical coverage, wide horizontal coverage and reasonably long throw, to make sure everyone in the room had the best experience and could hear all sounds coming from all the loudspeakers. They also needed to be self-powered, with coherent amplification and processing, easily transported, and with as few cables as possible.”

Aebischer deploys the eight Stagepas 1K systems in a line or 180° arc, each system running independently and reproducing as few different instruments as possible to minimise interference. “A 360° system is perfectly adequate, but extra care is needed when using rear points for music because of the obvious timing issues for different locations within a space,” he says. “But people like the immersive nature of 360° sound, even if the rear speakers are just used for things like wind noise or animal sounds, so I have tended to use those for sound effects.”

Aebischer composes the music for all the demonstrations, recording it to a digital audio workstation (DAW) and then routing it to the loudspeakers in a variety of ways. For the Stokata.io project, each input source was independently sent from the DAW to an individual output of a mixing console and from there to one of the Stagepas 1K systems, effectively using the mixer as a router. While for others, like Les Grands Espaces, the mixer pre-amplified several guitar effects, freeze and looped tracks, which were then routed to the eight output channels via an external object mixer. “This allowed me to map the trajectories of sounds and ‘pan’ them across all eight loudspeaker systems,” he says.

(Photos: JP Fonjallaz/Pierre-André Aebischer/Yamaha)

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