For Aladdin, we had a concept in mind that we wanted, the audience to connect with the actors.
Which is why we decided to really push technology, so that when an actor spoke, it wasn't wall of sound.
It was big, but you're, like it's coming from him.
And when somebody was on the other side of the stage, your ear would go that way and follow the visual.
We have to measure to all those zones that you see there, from every seat that has a speaker pointing at it.
So we sit in the seat, measure to the speaker, measure to all 14 zones, measure to the other speaker.
Cuz we're trying to All this trigonometry is happening for every section of the house and so basically if there's a speaker pointed at you we've measured from that speaker to a specific seat to 14 zones on stage.
So the stage is divided up into 14 different zones that we think the audience will perceive sound moving from.
Each actor is wearing a tracker that emits it's like six to eight gigahertz bandwidth.
It sends out this chirp.
And then we have radars all around the theater.
There's three across the front of the stage, across the balcony, two behind them, and they're looking for this chirper, constantly searching for it.
Radar has three little procedures in there and it says okay that I received the signal, and it's coming from down here and this one over there says I saw it as well but it's coming from here for me because this tracker's lower and so it's triangulating doing trig amongst seven different radars.
And then that being all happening in real time, it sends the information back to a computer, which then decides how much information needs to come out of one of two hundred speakers, so they're all receiving the same information, and we're just constantly shifting time and volume to trick your ear to unconsciously to follow the actor