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Old 2nd July 2019
  #18
Lives for gear
 

Quote:
Originally Posted by tourtelot View Post
Do any of you guys get calls to provide headphone cueing on any of your jobs?

I am set up to provide that function (in the "old studio" days, no one would consider working without a cue feed ever, but maybe, times have changed).

I know that it is done regularly on scoring stages (makes sense) but even on fairly complicated CD projects that I have done, even over a number of days, no one has yet ask for things like a click track, or a "string feed" or, well, anything. Seems like whatever tempo the director chooses, it must be close enough the next day to cut between days. Hmm?

Should I just assume unless I am doing a scoring session with 300 microphones (haha) that I can just put the cue feed stuff in deep storage?

D.
lucky you: i do get requests for 'silly' cue mixes (for inears, headphones or wedges) when working for orchestras with electronics or jazz bands, both in the studio and live - not much of a technical issue to please those requests since i'm using a desk with a huge output capacity (and routing options not commonly found in other products)...

...but at times, i'm wondering how artists are supposed to play with what they are hearing in their cans (not necessarily on their own request but often upon the ideas of a producer, conductor or section leader...).

besides my desk, i like working with the klangfabrik (as do the artists) which then gets fed with stems versus individual mixes via auxes.