"Bob Howes" <bob.howes@[EMAIL PROTECTED]
> wrote in message
news:qVPTj.7991$ko5.6427@[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....................
>>
>>
>
> Been there, done that. Like a lot of the regulars here, I donate my
time
> and equipment to local youth groups. In my case I was actually a
trustee
> for a couple of charitable groups, one doing theatre for the disabled
and
> one for kids/teenagers from 8-18...the two groups had a common board of
> trustees and sometimes worked together, sometimes separately. I agree
> 100% about the non-monetary rewards of doing this sort of thing. I've
> recently (in the last 8 months) moved to a new country but I'm looking
to
> get involved in something similar here.
>
> In the past I probably had a couple of things working to my advantage
that
> it sounds like you don't have. The first was a professional
> actor/writer/director who ran the groups and directed most shows.
> Unusually for this day and age, he understood the value of voice
> projection even when using mics and would spend a lot of time on
exercises
> with the kids. I remember him standing at the back of the theatre with
a
> large archery target persuading one young girl to "aim your voice
here!".
> This did make a big difference and, depending on your relation****p with
> the director, it might be worth adding some "fun" projection exercises
to
> the preparations.
>
> The other advantage I have is a couple of digital boards that DO have
> comp/limiters built in to every channel. That said, I agree with those
> who have advised against compression. As has been said, working with
omni
> mics in a group situation, this isn/'t going to do what you want.
> However, what I often DO use is just the limiter function to tame the
> worst excesses of the "shouters". Beyond that, it's just knowing the
show
> and being nimble with the faders. I'd probably also have some boundary
> mics (PCC160 or similar) on the front of the stage and use these for
> general choral pickup, using the RF mics to pick out solo lines in the
> midst of the above.
>
> One last comment: don't assume that mic swaps are something only
amateurs
> do. They're pretty common on musicals even at the highest level of
> professional theatre. Some years ago I did a brief stint as a tem****ary
> A2 on the London production of Les Mis. The number of swaps in that had
> me running round like a blue assed fly! At least I didn't swing the TX
> packs by the cables though!
>
> Bob
>
There was no way this production was going to run to a digital desk, I'm
afraid - just not enough budget. One day I'll buy myself one, maybe...I
can
dream................
I completely agree on the projection thing and I have to say the director
spent hours in rehearsal on exactly this - didn't seem to make much
difference, though. I think the difference here is that she (the
director)
takes on kids of all ability (even some with - well - none) and whilst
they
may never make great performers it really does bring them out of
themselves
and makes them ****ne for a little while.
I have found over the years working with amateurs that swapping is always
going to be disastrous in terms of damage. A dedicated and informed mic
tech crew for each performance is a luxury - usually it's just willing
helpers. And when the "help" in the wings - in the dark - accidents
happen.
I've tried all sorts to minimise this but short of being in two places at
once I don't know the answer. (Oh! yes I do - get some help
in..............).
Thanks for your input,
Regards
Chas
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