Major Sound System Upgrade at the Tiroler Landestheater Innsbruck
Renovation Instead of a Summer Break
Located in close proximity to the historic Old Town of Innsbruck, the Tiroler Landestheater
is a multi-genre repertoire theatre offering drama, musical and dance theatre, opera performances, and concerts. With around 450 employees and approximately 180,000 visitors per season, it is the largest cultural institution in western Austria. Nearly 600 performances and around 30 new productions are scheduled each season. Its venues include the main “Großes Haus”, the Kammerspiele located in the adjacent “Haus der Musik”, and the flexible Blackbox [K2].
In the summer of 2021, the “Großes Haus” underwent extensive renovation and modernization.
“Several parts of the venerable building had aged to the point that major construction work became unavoidable,”
explains Alexander Egger, Technical Director at the Tiroler Landestheater.
The project included the overhaul of the stage tower, replacement of the entire stage machinery and control systems, as well as the full renewal of the stage floor and the sound system.
Dr. Markus Lutz, Commercial Managing Director, emphasized:
“Renovation was crucial to maintaining operations and avoiding foreseeable damage.”
Mag. Johannes Reitmeier, Artistic Director, added:
“Investing in infrastructure ensures that our main stage will continue to meet the standards of a modern theatre.”
Theatre Audio Team
The “Großes Haus” offers seating for 755 guests. A 110-square-meter painting by Tyrolean artist Max Weiler adorns the fire curtain. The acoustics are generally pleasant, though the reverberation time is relatively short.
“Our performances range from plays, where reverb is usually undesirable, to operas, which benefit from longer reverberation times,”
says Lukas Ossinger, Head of Audio and Media Technology.
Ossinger, a graduate in media technology, joined the theatre four years ago, after previously working at Theater Münster. Since 2020, he has been supported by Gunter Eßig, Deputy Head of Audio, who brings over 20 years of experience from the Badisches Staatstheater Karlsruhe.
The audio team in the “Großes Haus” works from a control room at the rear of the hall, equipped with a high-performance digital console and compact monitoring setup, including surround speakers. There is no soundproof window between control room and audience area; for rehearsals, a mobile satellite console is used within the hall.
Design by GRANER + PARTNER
The previous sound system had become outdated and no longer met modern audio quality expectations.
“It was a patchwork system made of components from various manufacturers, expanded over time,”
recalls Lukas Ossinger.
“Oddly, the weakest speakers were located in the stalls — exactly where most seats are.”
Design for the new sound system was handled by GRANER + PARTNER Ingenieure
from Bergisch Gladbach near Cologne, specialists in room acoustics, sound insulation, audio/media technology, and building physics.
Manuel Marx, project lead from GRANER + PARTNER, noted:
“We initially conducted a feasibility study three years ago and were later commissioned with the full system design.”
Working Under Exceptional Circumstances
Installation of the new sound system was tendered by the Innsbrucker Immobiliengesellschaft (IIG), with PKE Electronics
emerging as the winning bidder.
“Having PKE’s Innsbruck branch nearby proved invaluable during the pandemic,”
notes Lukas Ossinger.
“We had to deal with border closures and similar complications.”
Provisions for pandemic disruptions were legally integrated into the tender documentation with support from legal advisors.
Stefan Weber and Markus Oberluggauer served as project leads for PKE Electronics. Both are highly experienced and have been with the company for over a decade.
Despite supply chain issues and pandemic constraints, the project was completed on time in just four months. The new system had its live debut in October 2021. PKE continues to service the system under a long-term maintenance contract.
Tailored L-Acoustics Portfolio
From past experience at Theater Münster, Lukas Ossinger had a strong preference for L-Acoustics products, known for their slim form factor and top-tier audio performance — especially the Syva
line, which perfectly fits the narrow proscenium of the Großes Haus.
Also integrated were the latest LA2Xi
DSP amplifiers — 4 x 640 W at 4 ohms — used to power the surround system.
Discreet Loudspeaker Integration
Most speakers are hidden behind perforated metal grilles with acoustic fabric.
“Using our acoustic simulation tools, we ensured that these covers have negligible impact on sound quality,”
says Manuel Marx, Dipl.-Ing. (FH), from GRANER + PARTNER.
“Any slight HF loss can be easily corrected via EQ.”
Sound differences with and without covers were measured at around 2 dB.
Surround speakers were custom-painted to blend into the venue’s aesthetics.
Core Drilling for Frontfills
To integrate six frontfill speakers into the front edge of the stage, core drillings into the concrete were required.
“Many shows are set up by just one technician. Having permanently installed frontfills saves significant time,”
says Ossinger.
Due to limited space, L-Acoustics X4i
compact 4” speakers were chosen for their small size and excellent audio performance.
When the orchestra pit is closed, mobile frontfills can be deployed instead.
Full L-Acoustics Setup
The venue now boasts two independently controllable sound systems, adapted per show type.
Portal System
Six Syva columns (3 left, 3 right on three levels)
L/C/R system with flown Center Cluster (deployed as needed)
L/R: Two A15
+ two KS21
subs (placed in the proscenium boxes)
Center: One A15 Focus + two A15 Wide
Additional Loudspeakers
Six fixed X4i frontfills (core-drilled into stage front)
X8 speakers on four levels at the portal (mounted via X-UTILT
brackets)
Six mobile 5XT speakers for flexible use
28 surround 5XT speakers on all levels (custom painted)
Some boxes use surface exciters to convert panel surfaces into vibrating elements (bending wave transducers)
On-stage Setup
Two A10 Wide
and one KS21 per side facing stage front
Two X12
on portal tower (stage-focused)
Two X12 in flybars above stage actors
Four future monitor wedges (2 x X8 + 2 x X12 on LA4X)
Special Effects
Four KS21i
effect subs above the stage canopy
Two 12XT as “Voice of God” speakers hidden in ceiling cavities
All speakers were supplied by Signal Sound & Light Distribution
, with tuning and calibration by Raphael Rupprecht.