Planning a Stage Box Setup for Radio Theatre with Power Core
A radio theatre production needs the intimacy of a studio and the flexibility of a small live venue. Actors may move around a set, Foley artists may work at a separate table, and musicians or a narrator may need dedicated monitoring. A stage box connected to Power Core can bring these sources into a networked audio system without filling the control room with long analogue multicore runs.
For Australian productions, the design also needs to suit varied locations. A Sydney studio, a Melbourne arts venue and a touring production in regional New South Wales may have very different cabling, power and network conditions. Planning the signal path before the first rehearsal helps protect intelligibility, timing and operational simplicity.
| Setup approach | Best suited to | Main advantage | Main consideration |
|---|---|---|---|
| Local stage box with analogue links | Small fixed studio | Straightforward commissioning | Longer cable runs and less flexible expansion |
| Networked stage box with Power Core | Theatre, studio or hybrid production | Shared I/O and central processing | Requires disciplined network design |
| Split stage boxes and redundant network paths | Larger or touring productions | Resilience and scalable routing | Higher configuration and equipment overhead |
Map The Production Before Choosing I/O
Start with a source list rather than a box count. Include dialogue microphones, Foley contact mics, prop microphones, music inputs, playback channels, talkback, IFB and audience or ambience microphones. Radio theatre often uses more effects microphones than expected, particularly when footsteps, doors, paper and hand props are performed live.
Separate permanent sources from occasional inputs. A core stage box might need eight to sixteen microphone preamps for actors and Foley, while line-level outputs can feed headphones, powered monitors, cue speakers or a foldback system. Leave spare channels for guest artists and last-minute creative changes. A compact production in Melbourne may have a fixed footprint, while a festival production travelling between Brisbane and Adelaide benefits from a lighter, repeatable I/O package.
Build The Signal Path Around Power Core
Power Core can act as the central audio engine for routing, mixing and processing in an IP-based workflow. The stage box should therefore be treated as the production’s input and output boundary, not as an isolated accessory. Decide which signals require preamp control, which need direct routing and which should pass through processing before reaching the console or recorder.
A sensible path might run from stage microphones to the stage box, across the audio network to Power Core, and then to a Ruby console or VisTool control surface. Direct outs can feed a multitrack recorder, while separate buses handle the broadcast mix, clean effects, monitoring and transmission backup. Product details and ecosystem information are available through Lawo’s broadcast platform, which can help align the hardware and software choices.
Design The Network For Predictable Audio
Use a managed Ethernet network with clearly defined audio and control functions. RAVENNA or AES67-compatible devices can share audio over IP, but interoperability should be checked for channel capacity, subscription behaviour and clocking. Keep the audio network separate from general office traffic unless the switch configuration has been tested and documented.
Clocking deserves early attention. Select one reliable grandmaster or clock source, then verify that every stage box, Power Core component and connected endpoint follows it. Configure primary and secondary network paths where the equipment supports redundancy. In a touring environment, label both paths at every rack and carry tested spare fibre or copper leads; sourcing a replacement cable in a regional centre can be slower than in Sydney or Melbourne.
Plan Gain, Latency And Monitoring
Set microphone preamp gain during a technical rehearsal with the loudest expected performance level. Foley work can move quickly from a soft cloth movement to a sharp impact, so leave adequate headroom rather than chasing maximum meter readings. If several operators share the system, establish who controls preamp gain and document the agreed operating range.
Latency must remain consistent across dialogue, Foley and monitoring. Use low-latency paths for performers’ headphones and cue mixes, while allowing more processing time for the main programme bus when necessary. A headphone amplifier near the stage can reduce cable clutter, and separate mixes let actors, Foley performers and the director hear the cues relevant to their work.
Organise Routing For Fast Rehearsals
Name channels by function and position, such as “Actor 1 Lav”, “Foley Table Contact” or “Door Prop Mic”. Consistent naming makes troubleshooting easier when a production moves between a rehearsal room and a performance venue. Store a baseline show file with routing, buses, processing and talkback already configured, then save a new version for each venue.
Use groups for recurring elements. A Foley group can carry equalisation and compression while preserving individual channels for creative balance. Dialogue can feed a clean speech bus and a processed broadcast bus, allowing the director to retain natural room sound without compromising intelligibility. Keep emergency bypasses and manual routing options visible to the operator.
Allow For Remote And Virtual Contributions
Some Australian productions involve contributors who cannot attend every rehearsal. A remote voice, presenter or interview guest may be added through a virtual radio workflow, but the return feed must be carefully separated from the programme mix to avoid echoes. The RƎLAY VRX platform can be relevant when remote contribution, virtual mixing or distributed production forms part of the wider design.
Treat remote audio as a separate source class with its own delay, confidence monitoring and backup plan. A stable wired connection at the venue is preferable to relying on crowded public Wi-Fi, particularly during a busy arts event. Record a local safety feed so a brief network interruption does not remove an entire scene from the production.
Test The Complete Theatre Workflow
Commission the stage box in the actual performance layout. Walk each microphone cable, check phantom power, confirm patch labels and test every headphone position. Listen for hum, RF interference and accidental crosstalk from lighting or power equipment. Australian venues may use temporary power distribution and shared infrastructure, so inspect earthing and cable routes with the venue technician.
Run a full rehearsal that includes doors opening, audience ambience, scene changes, playback starts and the final transmission path. Test network failover, saved show recall and the procedure for replacing a failed microphone or switch port. The finished design should let the operator identify a fault quickly, keep dialogue intelligible and maintain the story even when the stage becomes busy.
A practical Power Core setup begins with a complete source list, a correctly sized networked stage box, disciplined clocking and clearly documented routing. Build in spare inputs, resilient monitoring and a tested fallback path, then rehearse the system as part of the performance rather than treating technical checks as a separate task.
