C
CSP
Member
Twelve mics ---I only wish !!! the desk I use in the main theatre I am associated with has 56 mic inputs, plus 16 line inputs, a stack of AUX sends, is fully digital with snapshot recall and for live productions I regularly use the lot and on occasions for bigger productions I have been known to have to couple to the main desk an other desk (generally to mix the orchestra).
The initial poster I think left out some very important points (1) what type of mics are being used, (2) are the mics being hand held or positioned in the one location for the entire performance (eg on stands at the front of the stage, dropped from the ceiling/grid, etc), (3) are the mics being shared by other performers during the performance, (4) where are and what type of loud-speaker system is being used, (5) was the venue tuned before the start of rehearsals with the mics positioned on stage, (6) are fold-back speakers being used, (7) what type of technical rehearsal/s was/were undertaken, (8) how much time was allocated for technical set-up AND (9) how much time did the sound operator spend writing up a complete microphone plot before ANY rehearsal commenced.
I could go on but I think the above is enough to start with.
When I do the sound for a production -- whether it be the local dance/performing arts academy or a major performance with multi-million dollar budget --- I firstly discover the vocal strength of every cast member then I take the script (printed on one side of the paper only) and go through it line by line and determine who does or does not require a microphone and then I consider the type of microphone I consider best for that performer. After doing this, I then (on the LHS page) write up a complete microphone/console channel number plot --- I also write up on a separate log sheet an idea of what I consider could be any EQ/compression/reverb/etc that is required for each performer (and/or song).
At this stage I have not even sat behind the console.
Doing a "professional" production (and a school concert is a professional performance as far as the parents are concerned and remember -- every parent wants to hear their child perfectly --- in a cast of many on stage as far as Mr/Mrs Jones are concerned, there is only one person on stage and they are there to hear that "solo" performer!!!!!) is all about ensuring that everyone on stage can be heard at the correct volume.
The comment passed a few times above that professional performers do not require amplification is not strictly correct today. You go and watch a professional production of (say) Phantom, Sound of Music, King and I, Lion king, etc, virtually every performer is wearing a microphone (or is being amplified by some means). I have done the FOH sound for some of the biggest opera performances featuring some of the most famous opera singers and I have used up to 80 mics --- the trick here is for the mics not to be visible and for the audience not to realise that the production is being fully amplified (as mentioned earlier sound reinforced rather that in your face amplification).
To the initial poster, I am sorry, but to get a satisfactory result, you will need very good (is suitable) equipment (ie correct microphones for EACH production, a very good desk (have a look at the Behringer X32), good amplifier/loudspeaker combination (and for these to be mounted and tuned correctly) and ideally a venue that has been acoustically treated for live theatre with microphones --- NOT the school basketball arena with a make-shift stage at the end, polished timber/concrete floors and concrete walls.
You also did not mention the age of the performers. When doing the local dance academies with performers ranging from 5 - 18 years of age and with greatly different volume levels, I often have to place a microphone (ie taped and then make-up applied to cover the microphone/cable) less than 1" from the performer's mouth --- sure I have the correct mics for this --- with the ones I often use I can purchase for about $US20 (that's correct!!!) and they perform as good as or better than DPA's, Countrymen, etc all of which cost many hundreds and all of which break just as easily when trodden on by performers -- a very common occurrence!!!!!
Finally, for every show/performance, and irrespective of how much level setting, microphone dsp, etc, is applied and irrespective of how-many rehearsals and how good the performer/s is/are, EVERY performance will have to be mixed by a competent sound mixing engineer if you want to achieve a first class result ever performance. If this were not the case wouldn't every live theatre/venue and every major touring act, simply have a sound Op present at the rehearsals to set the microphone levels/Eq/etc and then be dismissed once the actual performances commence --- NO!!! the Op is there for every performance because performers perform differently and with different volumes and tone every night.
Just some food for thought and after almost 50 years of doing FOH at all levels and performance types and with all forms of equipment and in all forms of venue, I am still learning and/or finding a new challenge at every performance and venue.
David
The initial poster I think left out some very important points (1) what type of mics are being used, (2) are the mics being hand held or positioned in the one location for the entire performance (eg on stands at the front of the stage, dropped from the ceiling/grid, etc), (3) are the mics being shared by other performers during the performance, (4) where are and what type of loud-speaker system is being used, (5) was the venue tuned before the start of rehearsals with the mics positioned on stage, (6) are fold-back speakers being used, (7) what type of technical rehearsal/s was/were undertaken, (8) how much time was allocated for technical set-up AND (9) how much time did the sound operator spend writing up a complete microphone plot before ANY rehearsal commenced.
I could go on but I think the above is enough to start with.
When I do the sound for a production -- whether it be the local dance/performing arts academy or a major performance with multi-million dollar budget --- I firstly discover the vocal strength of every cast member then I take the script (printed on one side of the paper only) and go through it line by line and determine who does or does not require a microphone and then I consider the type of microphone I consider best for that performer. After doing this, I then (on the LHS page) write up a complete microphone/console channel number plot --- I also write up on a separate log sheet an idea of what I consider could be any EQ/compression/reverb/etc that is required for each performer (and/or song).
At this stage I have not even sat behind the console.
Doing a "professional" production (and a school concert is a professional performance as far as the parents are concerned and remember -- every parent wants to hear their child perfectly --- in a cast of many on stage as far as Mr/Mrs Jones are concerned, there is only one person on stage and they are there to hear that "solo" performer!!!!!) is all about ensuring that everyone on stage can be heard at the correct volume.
The comment passed a few times above that professional performers do not require amplification is not strictly correct today. You go and watch a professional production of (say) Phantom, Sound of Music, King and I, Lion king, etc, virtually every performer is wearing a microphone (or is being amplified by some means). I have done the FOH sound for some of the biggest opera performances featuring some of the most famous opera singers and I have used up to 80 mics --- the trick here is for the mics not to be visible and for the audience not to realise that the production is being fully amplified (as mentioned earlier sound reinforced rather that in your face amplification).
To the initial poster, I am sorry, but to get a satisfactory result, you will need very good (is suitable) equipment (ie correct microphones for EACH production, a very good desk (have a look at the Behringer X32), good amplifier/loudspeaker combination (and for these to be mounted and tuned correctly) and ideally a venue that has been acoustically treated for live theatre with microphones --- NOT the school basketball arena with a make-shift stage at the end, polished timber/concrete floors and concrete walls.
You also did not mention the age of the performers. When doing the local dance academies with performers ranging from 5 - 18 years of age and with greatly different volume levels, I often have to place a microphone (ie taped and then make-up applied to cover the microphone/cable) less than 1" from the performer's mouth --- sure I have the correct mics for this --- with the ones I often use I can purchase for about $US20 (that's correct!!!) and they perform as good as or better than DPA's, Countrymen, etc all of which cost many hundreds and all of which break just as easily when trodden on by performers -- a very common occurrence!!!!!
Finally, for every show/performance, and irrespective of how much level setting, microphone dsp, etc, is applied and irrespective of how-many rehearsals and how good the performer/s is/are, EVERY performance will have to be mixed by a competent sound mixing engineer if you want to achieve a first class result ever performance. If this were not the case wouldn't every live theatre/venue and every major touring act, simply have a sound Op present at the rehearsals to set the microphone levels/Eq/etc and then be dismissed once the actual performances commence --- NO!!! the Op is there for every performance because performers perform differently and with different volumes and tone every night.
Just some food for thought and after almost 50 years of doing FOH at all levels and performance types and with all forms of equipment and in all forms of venue, I am still learning and/or finding a new challenge at every performance and venue.
David
Steenamaroo
...
Have you tried asking them not to?
I'm shocked this hasn't been suggested. (apologies if I missed it).
Bobbsy
Boring Old Git
Steenamaroo
...
Three pages in it's worth underlining.
Bobbsy
Boring Old Git
Yes, definitely.
However, projection and vocal technique isn't something that can be done by the sound mixer shouting "speak up" at the tech rehearsal. It has to be part of the production process/drama classes. It's worth getting the director/teacher on your side if possible and having them work with the cast long before they wear their first mics.
Maybe I've been lucky but I've always had good luck having a meeting with the director/teacher as soon as I know I'm going to be involved. I do similar with the Musical Director about dynamics control on the orchestra (and try to sweeten the pill with offers of headphone monitor mixes, click tracks and pre recorded sweetening, that sort of thing. Again, it works more often than not.
Edited to add: Up above, CSP makes some good points about treating school and youth productions as a professional project. I couldn't agree more. However, you can often have some luxuries that real pro productions can't afford in terms of getting involved early in the production process and starting your planning early. I usually ask to start attending rehearsals as soon as they get to a "run an act" stage. This lets me take copious notes about who's doing what, where they stand, who has a really quiet voice, places where roles are "doubled" and so on. Obviously I also note sound effect and music playback needs.
By the second run through, I'm usually there with a rough draft of sound effects on a laptop and a powered speaker so the cast get used to the barking dog or the ringing phone. This also helps me refine and edit any effects--and the cast soon learn not to have the "rabbit in the headlamps" look as happens the first time they actually have to react to effects.
Frankly, even though I've done professional productions with nice budgets, my favourite memories are several original productions done by a youth theatre group (a charity for which I was a trustee). They had a VERY talented professional actor/writer/director handling the workshops and directing many of the shows and, on several occasions, he'd use the youth group to try out a new musical he'd then try to sell commercially. Doing something fresh with a committed and talented group was much more fun than doing my fourth production of Absurd Person Singular or fifth iteration of Jesus Christ Superstar.
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