Re: What the Pro's Don't Do

"Tim Perry" <timperry@[EMAIL PROTECTED]
> wrote in message 
news:481fc58d$0$7074$4c368faf@[EMAIL PROTECTED]
>
> "Chas Gill" <Chas.Gill@[EMAIL PROTECTED]
> wrote in message
> news:gLadnVFrpqZ-uILVnZ2dneKdnZydnZ2d@[EMAIL PROTECTED]
>> Thought I might share this weekend with you, just in case you're
>> interested - and to invite some constructive comments.
>>
>> Picture the show;
>>
>> 28 kids between 8-11 years, each with a line or three and a part in a
> song.
>> The client wants all the Mums and Dads to hear every word that every
> little
>> angel performs (and they WERE great, actually).  Problem is budget - 
>> can't
>> afford more than 16 radios, to share between 28 kids.  Oh, and by the 
>> way,
>> there's actually twice that many, i.e. 2 performances - different kids
in
>> each.
>>
>> Many long hours spent working out a mic swap schedule that volunteer
mums
>> will understand.  More hours spent fabricating headsets for small heads
>> (using Lavs, Alice Bands, garden wire and spiral cable wrap) that won't
> fall
>> off but that are quick to change in the wings.
>>
>> More long hours spent constructing a show soundtrack, including 23 
>> backing
>> tracks and 13 or so sound effects.
>>
>> Even more long hours spent rehearsing all of this lot with the kids.
>>
>> Come the day, soundcheck reveals (no surprise) that setting trim gains 
>> via
>> the PFL meter is a waste of time - they will do no more than whisper
> during
>> the soundcheck - and when they have a solo line or song to sing - but 
>> will
>> YELL THEIR HEADS OFF when they're all singing together.  Client can't
> afford
>> 16 channels of compression (yours truly slightly thankful - could I 
>> manage
>> 16 channels of compression?) so compression is done on the fly -
> re-trimming
>> and fader jockeying.
>>
>> All seems well, except that swinging belt packs from lav cables tends
to
> be
>> terminal (thanks, volunteer mums) so several mild panics when lavs go
on
> the
>> blink and get very noisy.  (thank God I provided spares - they all got
>> used!).
>>
>> So we got through two performances (just) and everyone was delirious. 
I
> got
>> to exercise my new L.U.C.A.S. system for the first time and it exceeded
> all
>> of my expectations.
>>
>> I am now knackered and having a quiet day off, but with a warm glow. 
>> Will
> I
>> do it again next year - probably.
>>
>> But I think I might insist on a rack full of
>> compressors........................... just to save my nerves.
>>
>>
>> Cheers
>>
>> Chas.
>>
>> ps: No, I didn't get paid - at least not with folding money.  But
somehow
> I
>> feel rewarded....................
>>
>>
>
> Chas, I just wrapped the Wizard of Oz which featured 40 - 50 munchkins
(to
> many to get a firm count).
>
> I used 2 DEQ4296 with dynamic EQ set for moderate amount of  high freq
> expansion.
>
> Having properly set delays, well placed speakers and PCC boundary mics,
> boundary mics on the thrust stage routed to only the delay speakers. A
> shotgun mic for the key munchkin scene... and 8 cheap-o audio2000s lavs 
> most
> of which actually worked when the actors remembered to turn them on.
(not 
> my
> decision or recomendation)
>
> Dorthy and the Witch got comps do to the dynamics of talking and
yelling. 
> I
> dug out the sabine FBX  and put one on the shotgun.
> The PPCs were all on dbx but no comp was set I only used gating to mute
> ambiant noise.
>
> The delay speakers which covered 95% of the audience were my trusty
elite
> E-600s on crank stands.
> The mains were delayed by 5 feet and covered the orchestra on one side
and
> special seating on the other.
>
> The sound was as good as you can get given hard walls floor and ceiling 
> and
> the requirements of the performance.
>
>
>
Now THAT'S what the Pros DO do!  Thanks for the feedback - I'll hang on to

it for next time.

Regards

Chas