Sometimes what we take for granted in what we do is a black art to other people. Several years ago as part of the tech rehearsal I extended an invitation to any of the cast who were interested to take part in a tour of the sound system setup and operation.
We started with the wireless wrangler, pointing out how we (I was A1 and Board Op.) would check each actor and mic for signal through the meters on the receivers and PFL on the board if we didn't get a chance to check when the mics were picked up. The battery indicator was also pointed out. I told them that whenever someone was about to have an entrance, the A2 and I would check for signal and quality.
Next we went to FOH where the board automation was shown on a few cues, the effect of compression was demonstrated (I use a 1:1.5 compression to maintain level balances without getting compression type distortion) as well as EQ and a couple of effects.
Then a description of the various mixes and how they were used in part of the venue.
Finally some of tricks of the trade in determining where cues are exactly in the script.
The general reaction was WOW! They never new what was happening with the sound, how complex it was, how much planning was involved,the incredible pressures of fixing things seconds before they were in the performance, or what was done to make sure it was not heard by audience (the sound system that is).
The actors who took part in the tour became a dream to work with. Several of remarked that they thought it was either a simple turn on the mic or some form of black art.
One of ones who didn't decided in one performance to turn his mic off when off stage. Yep, he didn't check with the A2 before going on stage and had a dead mic. I didn't have to do a thing. The other actors told him in no certain terms that he caused his performance to be inaudible.
The point being if you work with people and let them know what is going on things will be much better.
Nothing up my sleeve,
Andre
We started with the wireless wrangler, pointing out how we (I was A1 and Board Op.) would check each actor and mic for signal through the meters on the receivers and PFL on the board if we didn't get a chance to check when the mics were picked up. The battery indicator was also pointed out. I told them that whenever someone was about to have an entrance, the A2 and I would check for signal and quality.
Next we went to FOH where the board automation was shown on a few cues, the effect of compression was demonstrated (I use a 1:1.5 compression to maintain level balances without getting compression type distortion) as well as EQ and a couple of effects.
Then a description of the various mixes and how they were used in part of the venue.
Finally some of tricks of the trade in determining where cues are exactly in the script.
The general reaction was WOW! They never new what was happening with the sound, how complex it was, how much planning was involved,the incredible pressures of fixing things seconds before they were in the performance, or what was done to make sure it was not heard by audience (the sound system that is).
The actors who took part in the tour became a dream to work with. Several of remarked that they thought it was either a simple turn on the mic or some form of black art.
One of ones who didn't decided in one performance to turn his mic off when off stage. Yep, he didn't check with the A2 before going on stage and had a dead mic. I didn't have to do a thing. The other actors told him in no certain terms that he caused his performance to be inaudible.
The point being if you work with people and let them know what is going on things will be much better.
Nothing up my sleeve,
Andre
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