The No.1 Website for Pro Audio
 All  This Thread  Reviews  Gear Database  Gear for sale     Latest  Trending
Tags: , , , ,

The Show & Tell Thread for the Remotester in us all...
Old 4 weeks ago
  #301
Gear Maniac
 
PuebloAudio's Avatar
 

Quote:
Originally Posted by Plush View Post
Hello Scott,
Your program sounded outstanding! Congratulations on your work there!
I read your entire description of your methods and the long day. A tremendous amount of work! I am pleased to hear that you have a good stage crew.
Thanks Hudson for the kind words. It is grand to work with a skilled and experienced team.
Quote:
Originally Posted by Plush View Post
After I got all my levels and balances in the morning, it was announced that the stage must be struck because of a puppet show. Everything had to come down. Then we set it all up again. Chairs, instruments, mics.
The universe seems to like testing one's "audio faith" from time to time, doesn't it?
Old 4 weeks ago
  #302
Gear Maniac
 
PuebloAudio's Avatar
 

Quote:
Originally Posted by deedeeyeah View Post
may i ask what desk, how many mic inputs and especially how many ambi mics you were using?
Hi deedeeyeah,

Thanks for your interest and questions. Since the other engineers who worked these shows may not wish there work flow discussed, I shall refrain from some questions.

For my part, I used my custom built, silent PC with modified audio cards running ProTools 2019. An old Mackie fader pack in HUI mode allowed me to control the PT "mixer" so I could perform my balance and mastering in real time. Conversion by JCF & Lavry. Everything powered through my custom balanced power package. Finite setup time, budget and the complexity of interfacing with a variety of audio and streaming subsystems prevented using an analog solution (which would have been my preference).

The number of mics varied with the size of each show. That Vivaldi show was around 40 mics. An earlier show with the supremely talented Natalia Lafourcade, her 8 piece band and the LA PHIL was something like 160? Many of those mics are for sound reinforcement purposes, less so for the broadcast mix.

Since you asked, but before I answer, would you share your impression of how many ambience mics you felt were used?

Last edited by PuebloAudio; 4 weeks ago at 11:36 PM.. Reason: spelling
Old 4 weeks ago
  #303
Lives for gear
 

Quote:
Originally Posted by PuebloAudio View Post
Hi deedeeyeah,

Thanks for your interest and questions. Since the other engineers who worked these shows may not wish there work flow discussed, I shall refrain from some questions.

For my part, I used my custom built, silent PC with modified audio cards running ProTools 2019. An old Mackie fader pack in HUI mode allowed me to control the PT "mixer" so I could perform my balance and mastering in real time. Conversion by JCF & Lavry. Everything powered through my custom balanced power package. Finite setup time, budget and the complexity of interfacing with a variety of audio and streaming subsystems prevented using an analog solution (which would have been my preference).

The number of mics varied with the size of each show. That Vivaldi show was around 40 mics. An earlier show with the supremely talented Natalia Lafourcade, her 8 piece band and the LA PHIL was something like 160? Many of those mics are for sound reinforcement purposes, less so for the broadcast mix.

Since you asked, but before I answer, would you share your impression of how many ambience mics you felt were used?
for those ca. 160 mic, i would have been keen to hear about the signal flow and the desk (and i don't quite get why some folks do not want their gear list to become known (unless they fear some accountants are lurking around here?!) it's just the gear! - i'm mostly using my studer vista desks, to record, to mix live (foh and/or monitors) and to mix in the studio (plus of course for broadcasting).

you can't be serious you would have preferred to use an analog desk with 160 inputs?! or what was your part?

hard to judge the number of ambis as i dunno if you mixed any samples in - i'm mostly using about 4 pairs: two at sl/sr (shotguns and whatever), another pair (often x/y) flown high above center stage if there is not speaker/beamer/noisy spotlight etc., a pair at foh (often ortf) if there is any, a widely spaced at the far end of the venue or at the delay towers (whatever type, often ldc to keep s/n reasonable) and sometimes i even take splits from measuring mics if there is no other way of deploying mic/running cables... - i'm using less ambis if just mixing stereo, often two pairs then.
Old 4 weeks ago
  #304
Gear Maniac
 
PuebloAudio's Avatar
 

Quote:
Originally Posted by deedeeyeah View Post
you can't be serious you would have preferred to use an analog desk with 160 inputs?! or what was your part?
Maybe my OP wasn’t clear. My part was to balance the music-to-picture presentation from the various sub-mixes, ambi & aux feeds then perform real-time mastering for streaming. My analog comment refers to the mastering chain. For the 160 ch show there were two separate mixers feeding me; the band’s touring mixer and then LA Phil staff engineer for the orchestra.

Quote:
Originally Posted by deedeeyeah View Post
hard to judge the number of ambis as i dunno if you mixed any samples.
You mean “canned” or pre-recorded applause? Hahaha, what an unexpected notion! Has never crossed my mind nor have I ever been asked to do it for a live broadcast.

At any rate, for the Vivaldi we deployed two pairs: one up on the Halo and another out at FOH. In the end I only needed the single halo pair. I like to think the chosen mic technique, along with the Pueblo preamp’s uncanny ability to harvest ambience cues, allowed this minimal approach which achieves a satisfying sense of “sharing-in-the-moment” for the home viewers.
Old 4 weeks ago
  #305
Lives for gear
 

Quote:
Originally Posted by PuebloAudio View Post
Maybe my OP wasn’t clear. My part was to balance the music-to-picture presentation from the various sub-mixes, ambi & aux feeds then perform real-time mastering for streaming. My analog comment refers to the mastering chain. For the 160 ch show there were two separate mixers feeding me; the band’s touring mixer and then LA Phil staff engineer for the orchestra.


You mean “canned” or pre-recorded applause? Hahaha, what an unexpected notion! Has never crossed my mind nor have I ever been asked to do it for a live broadcast.

At any rate, for the Vivaldi we deployed two pairs: one up on the Halo and another out at FOH. In the end I only needed the single halo pair. I like to think the chosen mic technique, along with the Pueblo preamp’s uncanny ability to harvest ambience cues, allowed this minimal approach which achieves a satisfying sense of “sharing-in-the-moment” for the home viewers.
many thx! - regarding 'samples': i know some folks doing this (for pop&rock), but i rather thought about using some applaus gathered elsewhere during the evening.

in my experience, applause in each venue has quite a typical sonic imprint/spectral balance and density which i mostly don't want to mess with by adding samples stemming from elsewhere.

the reason i'm often using multiple ambi mics is not to mix all of them in for the music all the time but to have options to choose from and use different ambis for applause than for music: i mostly do not like the room to open up on the applause but rather make the soundstage smaller - i often ride ambis for broadcasts (and mixes).




p.s. i assume you are the man behind pueblo preamps then? didn't get to try them but most likely won't buy any - not because i wouldn't be interested in hearing them but a) i'm pretty happy with my studer pres b) i have lots of them and c) it's very convient to have the option to control pres remotely from a desk, gang them, move control over them between different desks etc. so chances i'll replace mine are very, very low.
Topic:
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump