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Old 9th February 2015 | Show parent
  #31
Quote:
Originally Posted by king2070lplaya View Post
That's mind-blowing and super impressive. That many inputs, I'd hardly know where to start in post, let alone doing a live mix! Super excited to work towards that kind of production though.

Is that the kind of setup where everything has a specific purpose from scene-to-scene, planned throughout production, or are many stage inputs captured just for safety?
No, every mic gets used. The way it breaks down is I have a lot of zone coverage on the stage, a full pit of spot microphones, 3 sets of ambience/overall pickup at different distances and a couple of mics built into the sets. This is supplemented by 24 principals on wireless.
The way it gets put together to mix is each zone gets a VCA group along with the sections of the of the orchestra and mains. This gives me 8 VCA groups in total. I then have a score reader that is feeding me wireless cues and I mix the set mics as needed. This brings the active mix channels down to about 40. All in all not impossible, but it is 3 hours of constant focus and balancing.
Quote:
Originally Posted by aracu View Post
How many people, and how long does it take, to set up the 80 mics?
It took 3 people about 5 hours to rig the stage and pit. Ironically, the whole thing gets broken down and reset about 5 times because the company is running 3 operas in repertoire. Each reset takes about 90 minutes to reset and fax out the lines.
It takes 90 minutes to dress wireless each night and we have a separate person just to deal with that and frequency coordination. This is an extremely hostile RF environment and finding channels in our blocks was real work. Between local DTV, other venues and the Grammys happening down the street the wireless engineer is earning his pay.

All the best,
-mark