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Eighth Day Sound supports “UniverSoul Circus”

“UniverSoul Circus”, one of North America’s most-loved family friendly, non-stop action productions, is celebrating thirty years of touring activities in 2024 with its inclusive ethos, which extends to welcoming Eighth Day Sound back for the sixth year. Sound design services and equipment delivery are overseen by Eighth Day Sound’s Sean Sturge.

This year, “UniverSoul Circus” has ten acts from multiple continents, reinforcing its position as a cultural live entertainment offering. “The idea here is to bring everyone from different cultures together”, says Production Manager Kabelo Mashobane. “Soul doesn’t have a color. It doesn’t matter where you are from, when it comes to seeking entertainment, we all speak the same language.”

To convey the messaging behind the circus’ new show, Kabelo explains: “Our audio delivery is unique; we have a lot of dynamic sounds due to our different acts bringing their own regional take. From classical ballet songs to Afrobeat, to Soca music from the Caribbean, we have something for everyone.”

Running from a big top tent for up to six weeks at a time across US cities, there were two main priorities when it came to designing a compact touring audio system: unified audience coverage and ease of installation. “The tent structure and the logistical needs of the performers dictated any PA constraints”, says Eighth Day Sound’s Chris Berry. “The majority of the flown production elements are required to hang from the circular truss suspended above the center ring, so deploying a system from the center and following the shape of the roof structure to minimize reflections was key.”

“The performance area of the tent is in the center with the audience wrapped around 300 degrees of its perimeter”, he continues. “Given the weight and spatial limitations of the flown circle truss, the sub system couldn’t be suspended with the line array. As the center of the room is the performance space, having the subs as a distributed cardioid system and placed under the bleachers was also key.”

“Eighth Day Sound listened to what we needed and gave us an audio design that complements all our sounds”, furthers Kabelo. “Afrobeat songs need that low end, the ballet songs hit those mid and high tones, and if there’s a violin playing, you’ll be able to hear the sound very clearly. No genre is left behind and that’s important to everyone.”

(Photos: Tim Pethel/EiSpielberg)

www.8thdaysound.com

www.clairglobal.com

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