After getting back to Poland I had 2 days to unpack and sort my stuff out. As it came out I brought sun with me, basically since then it is surprisingly sunny and warm. This post has a big lag. I think this is my first “just form me” day since then.
We started rehearsals on 11th April. Two weeks on stage rehearsals. As usually first few days only the cast and dancers with playback. Over those few days we, the sound team ;), gets some time to sort out what is happening on stage, how many (actually) headset mics will be needed, at least on the first run with mics. Never the same amount that you would think after reading the script. It always changes. That is how it is. Always. Over those days I get some time to get the console ready for the band. There is always one or two days off for the cast and we have just the band rehearsals. In that matter a lot of things happen on the flow and change on a day to day basis.
Before that happens I first sort out how many mics for the cast, of course with a surplus. Then if I’m lucky I’ll get the exact (this is a very important word here) number of the band/orchestra members. That’s my starting point. Then come all the decisions about IN/OUT console configuration. I almost forgot – plus a multitrack and a offstage choir.
Over the years of working here I’ve developed a way of making things work, that includes a basic “on paper” spreadsheet contacting all the “must have” information regarding technical sound aspects.
In the polish “Saturday Night Fever” premiere at the end it is 115 IN / 19 OUT BUSes / 40 DIR OUTs. Quite small show.
The whole monitor system is run on a StageTec Crescendo mixing desk, which is a part of a whole StageTec Nexus audio distribution system. On stage I use flown d&B C6 and E3 (as a sidefill) cabinets and a few MAX12 here and there (as needed). The orchestra monitoring system is all on headphones (some old shows have speakers in the pit – I try to get rid of them with time). There is a Allen&Heath MEU Port Hub that gets the audio signal straight from Nexus via Madi and then via cat6 cables to ME1 Personal Mixers. Sounds so simple, doesn’t it?
After a technical setup with a basic programme/scene in the desk comes time for the rehearsals and programming. I use whatever the console gives me to make the whole show as smooth to run and possible and as identical for the people on stage as it can get regarding the audio conditions (what they hear on stage). All sorts of automation and useful tricks. Thats another subject though.
It is a good show to work on. Runs smoothly. Songs are catchy. It’a good before party on a Friday or Saturday night actually. I think it’s gonna stick at least for few years in TMG.
My favourite prop – every show has its own “Let’s play a love scene” and in every show I’ve got my favourite prop. There it is. I WILL DJ a good party with that one.. ones Jack makes it running.
Check SNF out ;]
It just made my assumption true – techno now is the 80′ disco.
KalaFonia.
