Tim Perry wrote:
> The play: wizard of oz
>
> The thrust stage extends well into the audience with the audience on all
4
> sides. connected to the main stage by a runway.
>
> The client demands double 15 mains for the "look". they also want only
> "floor mics" (boundary effect) and some wireless lavs.
>
> The Orchestra will be located to one side between thrust stage and main
> stage.
>
> My first thought was having a delay zone after the thrust stage, however
it
> then occurred that the delay (to the actors ears) and the difference
> between originating sound and amplified sound would be excessive when
the
> action was occurring on the thrust stage.
>
> Anyone run in to this kind of situation and have any special insights?
>
I feel your pain,if you have the extra cabs,
give him his "look".
Fly working cabs on genies or scaffold to
get them as far as you can from the pcc's.
tight EQ's, as many of the principles on
Countryman E6 or equiv. body packs,
use a layered pattern on the speaker coverage
so you can bump up the long throw, and go
easy around the thrust.
Theatre sound tries to ignore physics,
it's about the visual, so client has very
unreasonable expectations.
The sound designer is usually the last
budget consideration. What do you mean
the speaker has to go where? How many?
I can't afford that many wireless, we'll
borrow some,etc...
Does the orchestra go through the PA?
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