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Old 22nd August 2019
  #304
Gear Maniac
 
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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.