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BEETHOVEN X With a symphony created by AI and the entire show mixed from a remote location, Beethoven X is a post-modern project for the sci-fi generation. Engineer, Peter Brandt explains the audio requirements of this impressive feat.
Words: Stew Hume Photos: Telekom
Brought in by necessity during the COVID-19 pandemic, the idea of operating a show remotely became a recurring theme in the lockdown – rolled-out to great effect on projects such as Wacken World Wide [TPi #253] and Around The World In 80 Milliseconds [Issue #258]. Involved in both projects was none other than Peter Brandt of Remote Recording Network. Carving out somewhat of a niche, Brandt and his team, while working closely with Riedel Communications, have created a proven workflow, which enables a show to be operated remotely by engineers, using a mirrored console on site. This time round, for Beethoven X , Brandt has placed his faith in the Yamaha RIVAGE PM5 to create the mix for this intriguing project. Beethoven X involved two distinct performances – one with the orchestra performing in Telekom Forum in Bonn and the other in the Elbphilharmonie, Hamburg, with each show being operated remotely from Studio Boecker, Cologne and Teldex Studios, Berlin, respectively. “I’ve been working with Telekom since 2007,” began Brandt, explaining
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how he was brought into this project. The score which the orchestra were playing was a piece of music that had been created by AI, finishing Beethoven’s incomplete 10th Symphony. “In the mix, you can really hear hints on Beethoven’s other works, such as the 5th Symphony,” enthused Brandt, who is now more than familiar with the pieces of work. Having worked on numerous remote shows, Brandt marked this project as somewhat of a turning point. Many of the prior performances were all about proving the concept that remote productions can work, but with the concept now proved, for these two shows, he was able to focus on the mix and choose spaces that were ideal for the orchestra and a studio ideal for mixing this type of performance. “With this type of streamed show, you used to be limited in what you could do as you would most likely be based in a truck outside the building,” stated Brandt. “However, with remote mixing, we were able to choose studios that were designed to work on classical mixes.” Talking more specifically about his workflow, the engineer outlined why the Yamaha PM5 was chosen. “We tested various consoles prior to
the show and, simply put, the Yamaha desks just worked,” chuckled Brandt. With two desks in the audio chain – one on site with the orchestra and the other in the studio – Brandt recalled how the mirror imaging was relatively easy to set up. “I’m a big fan of the PM5 as it reminds me of the old-school analogue days,” he continued. “The workflow is very easy for those who grew up on those styles of desks. It only took me 20 minutes or so to get the basic functionality up and running to be ready to do the mix.” Yamaha’s Arthur Koll expanded on Brandt’s comment regarding the analogue feel of the digital desk. “The basic thinking of the RIVAGE series was that it would be like a big analogue console rather than having to lay out numerous extra screens,” Koll explained. “It’s getting back to the mentality that the job will work no matter what you throw at it.” Koll added that the R&D team’s priority was the desk’s new IOs. “I’ve supported several other classical shows and all the engineers were pleased with the sound of the new RPIOs and the Neve Simulations preamps.” Brandt agreed whole-heartedly. “It was not only the
