With over 90 channels of live audio, a 16-piece orchestra, and a venue-wide speaker network of more than 40 individual boxes, this production was one of Crossfade’s most comprehensive theatrical builds to date — showcasing our experience, precision, and commitment to sonic excellence.

FOH System: Allen & Heath dLive 3500

At the core of the system was a dLive C3500 from Allen & Heath, chosen for its power, reliability, and versatility in demanding live theatre environments. The system included a dLive C3500 surface at FOH, a CDM32 MixRack on stage, and three DX168 stage boxes to handle distributed I/O across the orchestra pit and stage.

The dLive platform provided scene-based automation, custom layouts, and the flexibility to manage a complex mix environment with speed and confidence. With over 90 inputs, the console handled 30 channels of wireless microphones, a full live orchestra, playback elements, effects and ambient mics, and multiple output zones for FOH, fills, delays, monitors, and surround.

Onboard processing on the Dlive, including the New Rack Ultra FX Card, and the Dyn8 Multiband Compression and EQ provided excellent tools to design a beautiful sounding rock musical.

Wireless System: Shure SLX-D and Wavetool Monitoring

For the cast and ensemble, Crossfade deployed 30 channels of Shure SLX-D digital wireless. SLX-D offers robust RF performance, low latency, and clean, interference-free transmission — ideal for live theatre applications.

To ensure stability and fast fault resolution, we integrated Wavetool into the RF workflow. Wavetool provided real-time monitoring of channel status, battery levels, signal dropout detection, and the ability to solo individual channels for troubleshooting. With 30 channels of wireless in play, this level of visibility was critical to ensuring smooth performances and rapid response to any issues.

Wavetool enabled the awesome backstage audio team to detect and problem solve any issues with audio in real time. The iOS app allowed them to remotely log in off wireless devices, being able to solve an issue anywhere in the theatre. The chat function allowed for seamless comms between FOH and side stage.

The Orchestra: 16 Musicians on Personal Monitoring

Our audio design included a fully digital personal monitoring system for the 16-piece live orchestra. Each player had individualized control over their own mix, resulting in lower stage volume, tighter FOH control, and a better overall experience for musicians. The Allen & Heath ME-1 System provided an excellent solution for this, integrating seamlessly with the DLive system on the show. This made it really intuitive for all musicians, with a range of experience using IEM’s & Headphones, to take control of their mix, and have studio quality sound for the production.

The orchestra included strings, brass, woodwinds, rhythm section, keys, and percussion. Every instrument was mic’d with premium microphones chosen for tone, flexibility, and theatre-readiness.

Microphone Breakdown: Premium Tools for Professional Results

We selected microphones that offered both sonic excellence and reliability under the demands of live musical theatre.

• DPA 4099 clip-on microphones were used extensively for the string section, horns, and woodwinds. Their low profile, natural reproduction, and high signal to noise ratio make them ideal for close-miking acoustic instruments without distraction to the player or tonal compromise.

• DPA 4055 was used on kick drum, offering a flat, uncolored response that captured the low end with clarity and punch. This mic provided modern studio-grade sound in a live setting, with minimal EQ required.

• Sennheiser e904 clip-on dynamic mics were used on toms, delivering fast attack and rich low-mid body. Their compact form factor and reliable mounting made them a great fit in a tightly packed pit.

• Shure Beta 57 and SM57 microphones were deployed across auxiliary percussion and as utility mics drums and percussion. Both models are known for their durability and consistent performance, with the Beta offering a bit more output and a tighter pickup pattern.

• Shure SM81 small diaphragm condensers were used for overheads and cymbals. Their accurate high-end response and cardioid pattern provided clean, isolated cymbal coverage without excessive bleed from nearby sources.

Vocals: DPA 4466 CORE Headsets

All principal vocalists were fitted with DPA 4466 CORE headset microphones. These headsets are trusted throughout the theatre world for their transparency, gain-before-feedback, and unobtrusive design. The 4466 helped us achieve clear, natural vocal presence even during the loudest rock numbers of the show.

Venue Coverage: 40+ Speakers Across Multiple Zones

To ensure every seat in the house received balanced, full-range audio, Crossfade designed and deployed a multi-zone speaker system comprising more than 40 individual loudspeakers.

The system featured main L/R line arrays, Centre line array hang, front fills, under-balcony delays, subwoofers and foldback systems. Each zone was carefully tuned and time-aligned to create a coherent sound image across the venue. This was a full JBL deployment using the New A8 Line array, along with the smaller VT4886 for centre hang, and AC25 for fill, all powered using Crown 4x3500 amplifiers and managed using JBL performance manager. A huge thanks to the team at Strawberry, providing all racks and stacks.

Outcome: Studio-Grade Sound in a Live Theatre

This production of Jesus Christ Superstar required more than volume — it demanded a mix that was articulate, immersive, and emotionally impactful. Thanks to the combination of experienced engineering, high-end equipment, and meticulous system design, Crossfade delivered a sound experience that matched the energy and intensity of the production on stage.

Planning a Large-Scale Musical?

Whether you're staging a high-profile rock opera or an intimate black box musical, Crossfade can design and deliver a custom audio solution to fit your show. From concept to closing night, we’re there to ensure your production sounds as powerful as it looks.

Contact us at: Tom@crossfade.co.nz
More at: www.crossfade.co.nz