Sculpting the Cathedral: Sound Engineering The Hunchback of Notre Dame 🔔

When people think of The Hunchback of Notre Dame, they think of scale. They think of stone, stained glass, and a "wall of sound" that feels as though it could shake the foundations of a cathedral.

Bringing that sonic weight to the Beau Séjour Theatre was a complex puzzle of physics and phrasing. With a 56-input show, a 14-piece orchestra tucked under a 6ft platform, and a 17-strong live choir perched directly above them, my role was to ensure that not a single lyric - nor a single sob - was lost in the grandeur.

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The Technical Backbone: Allen & Heath Avantis Solo

To manage a show of this magnitude, I utilised the Allen & Heath Avantis Solo paired with an IP8 extension. Managing 56 inputs - including 25 cast mics, a full orchestra, shout mics, and playback - requires a console that stays out of your way so you can focus entirely on the performance.

The Input Breakdown:

• 25 Cast Mics: Every cast member was mic’d using URSA mic belts for discreet, secure placement.

• 14-Piece Orchestra: A powerhouse pit consisting of two Keys, triple Reeds, Brass, Strings, and Percussion.

• 17-Person Choir: The "soul" of the show, positioned at the back of the stage.

Life in "The Catacombs"

One of the most unique challenges of this production was the physical layout. The orchestra was situated at the back of the stage, tucked underneath a 6ft platform. The musicians quickly nicknamed this cramped, low-ceilinged space "The Catacombs." Directly above them stood the 17-person choir.

Because the ceiling of the Catacombs was so low, natural acoustics were non-existent and the risk of "bleed" was high. To combat this, I opted to close-mic as much as possible to maintain isolation:

• Strings & Percussion: I utilised sE Electronics sE7 pencil condensers for their clarity and transient response.

• The Woodwinds & Brass: Space was so tight that traditional mic stands were often a luxury we didn't have. I utilised Shure SM57s mounted on SmallRig clamps directly to the music stands for the Brass and Reeds (including Saxes and Clarinets). This kept the pit tidy and ensured consistent mic placement regardless of how much the musicians moved. The SE7s were also used for flutes and piccolos.

• Keys & Comms: The keys ran via MainStage through stereo DIs. The MD was equipped with a SM58 shout mic, allowing for instant communication with both the musicians in the Catacombs and myself at Front of House.

  
  

To tie it all together, I deployed a Behringer P16-HQ IEM system. Every musician and the conductor had their own personal mixer, which was essential for keeping the timing locked in when they couldn't physically see or hear each other naturally.

Engineering the "Wall of Noise"

My process always begins with "squeaking" the PA. In a 401-seat venue, every decibel of headroom is precious. By ringing out the system early, I ensured I had the gain-before-feedback needed to lift the cast over the top of a live brass section and a nearly 20-voice choir.

The Mix Strategy: Line-by-Line Precision

I am a firm believer in line-by-line mixing, and for this production, TheatreMix was my secret weapon. By keeping only active mics open, I could keep the mix "dry" and intelligible, even when the band was at full tilt.

I managed the massive dynamic shifts using Group Processing. I kept the Band and the Choir on their own master groups, allowing me to "ride the swell" of the music without losing the delicate nuances of the leads. While I experimented with reverb to evoke that Parisian cathedral atmosphere, the sheer volume of the show meant I had to be surgical - using space where it helped the story, but pulling back to maintain clarity during the intense "Hellfire" or the choral peaks of "Olim".

Crisis Management: "Phoebus, Your Mic is Dead"

Live theatre is a tightrope walk. During one performance, Phoebus’ mic pack died just moments before his pivotal duet with Esmeralda.

This is where preparation meets opportunity. I had a spare channel prepped and ready to go; thanks to TheatreMix’s spare mic functionality, I was able to swap him over mid-show without a hitch - thank you crew!

Dealing with ensemble members who doubled as principal characters - such as the actors playing Jehan and King Louis - meant the DCA assignments were constantly shifting. Having a robust digital workflow meant I could focus on the emotion rather than the fader bank.

The "Pride" Moment

There is a specific chill you get as an engineer when the mix finally "locks". For me, it was those massive ensemble numbers. When you have the cast, the choir, and the orchestra all hitting a fortissimo at once, and you can still feel the raw emotion of Frollo's vocals cutting through - that is the ultimate goal.

Whether it was the bombastic power of the bells (played live by the keys) or the pin-drop silence of the final tragic scenes, this show was a reminder that sound isn't just about volume - it’s about storytelling.

Looking for a Sound Engineer for your next production? I specialise in high-input musical theatre, personal monitoring solutions (IEMs), and complex digital workflows. Let’s build something spectacular together.