14th October 2002
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#1 | | Super Moderator
Joined: Aug 2002 Location: NYC Thread Starter  |  How do you get around the communication traffic jam, when mixing a live music event?
Speaker placement and there uses...
When we record and/or mix on location, we place speakers in various positions around the control area. Let me explain...
The near fields are patched to the main speaker switch.
The secondary (or near field) speaker switch is used for an active mono or stereo speaker setup, which is placed behind the mix position about six or so feet. This gives us a definitive idea of what we got going on, in the mix. And what it may sound like on a little speaker(s) pointing behind or away from you. Kind of like, how does it sound when you step away to get a soothing beverage or something.
The audio record PL (comm) speaker is to the right at mix position, with the director or other department PL speaker at the right rear of the control room. If necessary, we can patch "hot" mics and/or broadcast feeds directly to additional active speakers at the left rear (or anywhere else) in the CRM. This helps us focus on who's talking to us and what's going on outside of the music mix, which we are providing. The mix engineer, associate engineer, etc., all have access to the comm system.
Many music engineers hate this way of doing it. They rather have an associate on a headset, dealing with the communication and relaying it to the proper person. I don't have a problem with it either way. What about you?
So, how DO you get around the communication traffic jam when you're mixing a live music event? | 
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14th October 2002
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#2 | | Gear interested
Joined: Oct 2002 Location: Denver, Co
Posts: 27
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Most of my work involves very complicated PL systems,drops, and needs. I cannot tell you loud enough how valuable a great DEDICATED PL tech is!
As a mixer, I simply do not want the added responsibility of dealing with com issues, I just want my A2's and runners preferably on RF PL. But as you know, this brings up it's own little set of demons!, i.e. how many radios are being used in all aspects of the show.
I usually tell the shows producers up front that I will not be handleing PL. I haven't met with that much resistance.
But, if you are the EIC on the gig(rig), then you really don't have much choice in the matter.
peace,
bruce
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15th October 2002
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#3 | | Gear interested
Joined: Oct 2002 Location: Los Angeles
Posts: 2
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Have somebody else do it......
of course this wont happen... and you will get burned by people asking the wrong question at the wrong time..
but the point source scenario is definately the way to go.. helps to know who is yelling at you ... they always seem to forget that you are LISTENING to their show.....
The best situation is to have an A-1 that is NOT the mixer,,rather the person that designs and installs the show, so that YOU the mixer don't have to deal with ANYTHING except the best possible mix
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15th October 2002
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#4 | | Super Moderator
Joined: Aug 2002 Location: NYC Thread Starter |
I hear you Bruce,
On big shoots that involve super complicated comm systems and a ton of drops, IFB, etc., you got to have a communications A2 or two. There got to be someone other then the music mixer to put out any fires if necessary. The added headache of dealing with comm issues is too much for a music mixer or program mixer for that matter.
I was thinking more on the level of, monitoring an audio PL, director and/or camera conference while mixing music. When each point source is set to the proper volume in the room, I really don't mind listening to it all. It's strange but true, I'm affraid. It can sound pretty avant-garde at times.
EIC and MusicMixer (or A1) really don't mix. Smart production folk know not to double up in that department. Like astra said, "...the mixer don't (shouldn't) have to deal with ANYTHING (else) except the best possible mix."
Thanks guys, that was solid advice. Please come back soon!  | |
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15th October 2002
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#5 | | Lives for gear
Joined: Oct 2002
Posts: 764
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On the few location dates I do, Im lucky to be working with the mostly the same crew, and often the same one or two venues. So we have a pretty established way of doing things, com lines are just one of them.
There is a dedicated A1 and A2 who handle all the comm issues.
those guys have a long shoot, i think there is like 8 camera guys, a bunch of lighting dudes, stage manager, 3 or 4 hosts, teleprompter lady, band director, FOH dude, monitor guy and me.
On my end, I like to have a dedicated audio biscuit box, thats just me the montor guy and the FOH guy. so if something sounds odd, the 3 of us can all cue up the same channel, etc etc etc.
I also have a line from the truck, that the TD and AD both monitor on a seperate biscuit box.
I also like a single speaker mono choice, in addition to the nearfields.
Ive got to try Steves idea of putting it in the back of the room.
thats about it.
Sean
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