Equalisers?

[Chris_R]

The worst of it is that the audio and lighting is ridicolous as it is done from the left of the stage. Yes ladies and gents, we aren't at the back or even mid way down the hall, we are at the left of the stage. Best place to see where the lights fall and being directly underneath a speaker is the best place to hear what the audience hears.

 

Not much you can really do there apart campaign to get the control area moved.

Sometimes thats not possible (Many a gig has been spent mixing in front of the left stack!) so then the next best thing is to keep walking FOH as much as possible getting a gauge of what it sounds like from the audience's perspective (if this is possible in times where there are few cues etc. If its quite a busy show get an assistant!).

Its not unusual for lighting to be operated from a room that doesn't give a great view of stage (if at all! IIRC from the control box at The Playhouse theatre in London (for one) the stage isn't visible at all). The way they get around it is to use cameras and monitors. If you plot & program (or plan if your using an analogue board) in the rehearsals from FOH you should have a rough idea of what it will look like. Try and get a monitor, or get the LX op to take a wander FOH, again, in quiet cue times!

 

When something goes wrong, it usually isn't our fault, yet we have 50+ heads turn left and glare at us. Then the audience follows suit. We're stood there feeling like complete t*ts when someone has switched their microphone off, thinking they had turned it on. Short of me walking in front of the stage, going over there, turning it on and walking back, there's not a great deal we can do. But we'll blame the techs anyway!

 

My 2 possible solutions are (ruling out having the wireless mics on stands - teacher won't allow it) is to either stick to my script, and if someone has taken a mic without telling us, leave it switched off and go with the script, or just refuse to use wireless mics altogether (which is slightly unfair on the small minority who cooperate with us).

 

Give strict instructions to the performers to not touch and of the switches on the radio mics. If that fails I would give someone the job of giving out the radio mics before the performer goes on stage. That person is responsible for making sure that all the mics are on, wired correctly etc.

My advice would be to stick to the script. Be as accommodating as possible, but if people don't ask they don't get! A script and cues are there for a reason!

 

Do you just let this roll off your back? If you were being stared at by 200 people for something out of your control, would you too feel annoyed?

 

Who's in charge of the production? Tell them how you feel then the balls in their court, and their job to sort out.

If it doesn't change then start saying no!

 

Just a few of my opinions, hope they are of some use and your situation gets better soon.

 

Chris

[Bobbsy]

If you have access to a PC with internet access, you could try downloading the free MP3 player,Winamp. This has a 10-band equaliser included, together with a number of presets - Dance, Reggae, Large Hall, Club etc. By playing a piece of music you are familiar with, you can see how the different presets affect the sound, then try your own adjustments ; you can then apply what you have learned to your desk.

 

With respect, the "10 band equaliser" in Winamp is really just a toy, not dis-similar to what's already on the existing powered mixer, and the presets (as with all presets) have no use in serious audio. If you want to experiment with what REAL equalisation does, download the 28 day trial of Adobe Audition 2.0 from the Adobe site and try out the 31 band graphic or the parametric equalisers on some programme material. However, as the OP doesn't have access to this sort of equipment, this would be more of a theoretical experiment rather than something of any use in his real, live situation.

 

Any advice, tips, suggestions?

 

Do you just let this roll off your back? If you were being stared at by 200 people for something out of your control, would you too feel annoyed?

 

Well, the only real advice I can give may be hard to implement in your school situation but is has to be "don't let things get out of your control". On any show I work that involved radio mics, there is a member of the audio team backstage managing things and handing the right mics to the right people at the right time. Equally important when swaps are planned in, they're around to grab the mic when an actor comes off stage (or go searching if somebody tries to disappear with your mic). Similarly, sound in general and the use of radio mics in particular should be one of the topics at a production meeting. There should also be an introductory session for the cast where the planning for the mics is discussed and, finally, one or more charts detailing the mic swaps posted back stage.

 

Communication and planning are of paramount importance here...and the more complex the show, the more important they are.

 

I realise that in a school situation it's not always possible to work the way you want...but you should at least try.

 

Bob

[Rowan]

In my experience, it's often better to put a fresh set of batteries in the mic at the start of the event, turn the mic on and then tape up the power switch with lx tape. If you are using handheld radio's, then this can have another advantage if you use a different colour for each mic.

 

I think we've all been there where the plans change at the last minute, and things are added/cut from the show. This highlights the need for some of the jobs people do in professional productions. When I was at school, it was very much a case of the 'Director runs the show!' They are overall in charge of everything. When you start to work in a professional environment, lots of other people suddenly appear, producers, production managers, stage management, designers..... all of whom take charge of a small amount of the production in order to try and make it run smoothly. Perhaps you can suggest this to your teachers, that they try and implement some sort of similar structure in your shows, which would help them to run a little smoother.

 

Sometimes it is best to just suck it up if things go wrong and it's not your fault. Certainly if you start shouting and throwing your weight around, it won't help you in the long run! just try and remain calm about things, talk your problems through with people. If they can see things from your point of view it helps a lot. If everyone is looking at you, and it really isn't your fault, I find simply shrugging your shoulders usually works, it lets everyone know that you're not to blame. Above all, remember that it is a live show and that things can and do go wrong. That to some extent is what makes it an interesting industry to work in.

 

I always refer to them as balanced and unbalanced jacks.

[DanMerc]

Thanks guys for your advice.

 

I will just shrug my shoulders if anything goes wrong tonight.

 

I'm also gonna gather the entire cast together just before the start and reinforce about the microphones.

 

I've also put up 5 eye catching A3 sized posters that read "if anyone would like to use a wireless microphone tonight, see Danny BEFORE the concert commences, regardless of whether or not you saw him last night."

 

It clearly states on the poster too that if anyone fails to do so, the radio mic will not be turned on for their item. Some people think they are too important to come and ask to use a radio mic. They think they're above the technicians and can just use it. Hopefully, by sticking to the technical script, if they haven't seen us in advance, I will leave it off. Those who cooperate and don't see us as "lower" than them will have their mics working perfectly, and those who don't communicate and cooperate will be on their own.

 

We work hard during the concert nights, as we are constantly monitoring and adjusting the sound levels, CD tracks, lighting, etc. for each act. Each concert lasts about 3 hours. Most of these performers go on, do their bit and sometimes don't have to go back on for about an hour or so where they can do whatever the heck they like, while we're still working our backsides off! I feel a little respect and cooperation wouldn't go amiss.

 

Oh, and you never seem to get thanked either? Only one person ever says thanks and that's the music teacher because she has to. "Thanks to the choir and performers, thanks to the orchestra and band, thanks to Mrs Williams for organising it and of course, thanks to you for coming and watching us tonight, as without you there would be no concert (I'm usually asking someone to pass me a bucket at this point) so thanks once again and goodnight."

[mark_s]

Do you just let this roll off your back? If you were being stared at by 200 people for something out of your control, would you too feel annoyed?

 

Well, the only real advice I can give may be hard to implement in your school situation but is has to be "don't let things get out of your control". On any show I work that involved radio mics, there is a member of the audio team backstage managing things and handing the right mics to the right people at the right time. Equally important when swaps are planned in, they're around to grab the mic when an actor comes off stage (or go searching if somebody tries to disappear with your mic). Similarly, sound in general and the use of radio mics in particular should be one of the topics at a production meeting. There should also be an introductory session for the cast where the planning for the mics is discussed and, finally, one or more charts detailing the mic swaps posted back stage.

 

This is how it works at my old school. We usually have a backstage team of about 2-3 people, plus the 'stage manager'. One of us is assigned responsibility for the mics - giving the correct performer the correct mic as they go on, and retrieving it as they go off. The mics are colour-coded (using coloured card and some Sellotape), and on the running order backstage, it is noted which acts use which mics. If it's a case of the acts themselves having to ask to use a radio mic, it sounds like you need to become far more organised (not you personally, but the show as a whole).

[Chris_R]

Oh, and you never seem to get thanked either? Only one person ever says thanks and that's the music teacher because she has to. "Thanks to the choir and performers, thanks to the orchestra and band, thanks to Mrs Williams for organising it and of course, thanks to you for coming and watching us tonight, as without you there would be no concert (I'm usually asking someone to pass me a bucket at this point) so thanks once again and goodnight."

 

If you want to be noticed (for the right reasons) and publicly thanked....your in the wrong role!

When a show goes well you get less attention then when it goes wrong, so if nobody notices you then take it as a compliment!

Why does your music teacher HAVE to say thanks? Surely if she didn't want to, or feel it was necessary then she wouldn't?

 

I also agree with Mark_S; your show needs to be more organised with a recognised leader who can liaise with all departments involved and work with them.

 

In regards to the sign, I'd put a time limit on there, e.g. See us at least 30mins before the show. This will hopefully discourage loads of people coming to you at 2 mins before curtain up asking things when everything is rushed.

 

Hope it goes well tonight!

[Bobbsy]

<snip>

 

I've also put up 5 eye catching A3 sized posters that read "if anyone would like to use a wireless microphone tonight, see Danny BEFORE the concert commences, regardless of whether or not you saw him last night."

 

It clearly states on the poster too that if anyone fails to do so, the radio mic will not be turned on for their item.

 

<snip>

 

With respect, I think you're going about this the wrong way and possibly risking making things worse for yourself and your colleagues.

 

The decision as to who uses a radio mic should NOT be with the performers. It should be you, working with the director, deciding on the basis of need. It certainly shouldn't be because somebody "would like to" use a radio mic. What if the member of the chorus who always sings flat asks for a mic but the principal with the solo doesn't? What are you going to do then?

 

Similarly, if I turned down the mics for every performer who behaved like a prima donna or wasn't co-operative, I wouldn't have lasted long in the industry. Your job is to make the show sound the best it can, regardless of the attitudes you encounter from the cast. Fortunately for me, the vast majority of professional actors and singers have always been just that: professional. However, I've worked with a few "stars" who wouldn't have had a mic if I'd used your methods.

 

Bob

[Just Some Bloke]

I was about to post an almost identical reply, Bob! Well said.

 

Your job is not to get thanks, it's to get as good a sound as you can. Sometimes things will go wrong and everyone will think it's your fault when it isn't. Get used to it.

 

Here's another thing to get used to. Sometimes one of those radios will drop out for no apparent reason and everyone will look at you to see what you're going to do about it. There will be nothing you can do about it unless there is a spare which someone can get passed on before the next item. You'll need to get used to that one too!

 

I do sympathise about mixing from under a speaker stack, though. That's tough and, as suggested earlier, does require a lot of moving from desk to FOH regularly to see what things are sounding like.

 

Hope all goes better tonight.

[paulears]

Two hundred people will be asking why the teacher let it happen, not blaming you. If mistakes or poor performance were banned, then somebody would be doing it as a job. If the teachers won't let you do things, don't worry about it - you're not expected to be experts, that's why you're at school - to get it wrong, and learn from it. So do the best you can, and forget it. After all - if they don't worry, why should you?

[Tomo]

The guy who I was asking didn't know the difference between mono and stereo sound. He also didn't know what an XLR connection was. I think if I asked him for a quarter inch TRS he might think I was asking for something else! <_<

Then why are you revelling in his ignorance?

 

If he doesn't know, tell him.

If someone asked me for something that I don't understand, then refused to explain what he meant, then I'd be a little bit annoyed!

 

Finally - the job of the theatre technician is not to be noticed.

 

For the sound engineer, that goes double!

99% of the time, sound engineers only get noticed if they mess up.

 

As an example - when I was doing corporate work, the companies would pay much more for me to operate their Powerpoint computer than they would for me to mix their sound.

They just didn't realise the value of a good sound engineer, which is a shame.

[Ben Langfeld]

Similarly, if I turned down the mics for every performer who behaved like a prima donna or wasn't co-operative, I wouldn't have lasted long in the industry. Your job is to make the show sound the best it can, regardless of the attitudes you encounter from the cast. Fortunately for me, the vast majority of professional actors and singers have always been just that: professional. However, I've worked with a few "stars" who wouldn't have had a mic if I'd used your methods.

 

Bob

 

With all due respect Bob, I think that maybe it's the prima donnas and the "stars" who deserve a short career in the industry.

[Bobbsy]

With all due respect Bob, I think that maybe it's the prima donnas and the "stars" who deserve a short career in the industry.

 

Short career? I've met a few who I thought deserved a long walk off a short plank! Alas, in the real world, given a choice of XXXX XXXX XXXXXXXX or maybe XXXXXXXX XXXXXXX * on camera or me doing sound, I'm afraid the "name" is going to win every time!

 

Fortunately, as I said in my earlier post, by far the vast majority of people I've worked with over the years, even well known, genuine "stars", have been nice people, easy to work with and thoroughly professional. It's been a relatively small number (certainly countable on one hand) who have be really objectionable.

 

Bob

 

* names omitted to prevent lawsuits!

[DanMerc]

With respect, I think you're going about this the wrong way and possibly risking making things worse for yourself and your colleagues.

 

The decision as to who uses a radio mic should NOT be with the performers. It should be you, working with the director, deciding on the basis of need. It certainly shouldn't be because somebody "would like to" use a radio mic.

 

I don't know if I would of gone through in the end. I might not of had the heart to leave someone on their bill, although everyone else kept saying I should just refuse to use radio mics (which is unfair to the ones who arent prima donnas + the wireless mics are great for the acts were people move around the room a bit, or the solo items). I did make the threat but everyone suddenly took notice, so I reckon it must of worked.

 

What's a director?! Mind you, we did actually have a stage manager at one point, but they left school last year and no one has been drafted in to replace them.

 

Last night I also got a couple of y7 lads to help sort out the mics and backstage. They were fab. It's so much more easier to be able to just focus on doing the sound and letting someone else deal with handing them out, getting them back in, retrieving them from toilets <_<.

 

 

Your job is not to get thanks, it's to get as good a sound as you can. Sometimes things will go wrong and everyone will think it's your fault when it isn't. Get used to it.

 

Here's another thing to get used to. Sometimes one of those radios will drop out for no apparent reason and everyone will look at you to see what you're going to do about it. There will be nothing you can do about it unless there is a spare which someone can get passed on before the next item. You'll need to get used to that one too!

 

I do sympathise about mixing from under a speaker stack, though. That's tough and, as suggested earlier, does require a lot of moving from desk to FOH regularly to see what things are sounding like.

 

Thanks for the heads up mate. And yes I spent a lot of the night bouncing up and down the corridor gauging the sound.

 

 

Then why are you revelling in his ignorance?

 

If he doesn't know, tell him.

 

I did, I explained it all to him.

 

I think you've got the wrong idea, I'm also a Young Leader in the Cub Scouts (worked with the Scouts for some period of time) and I lead an extra cirricular group in ICT and am forever passing on my skills and knowledge to those who want to know more.

 

It wasn't the fact that he didn't know, it was the fact that he attempted to appoint himself the head audio tech and claimed to know more than me and then shortly after I he asked me the difference between them.

 

------------------------------------------------------------------------------------------

 

All in all last night went well. After I got a little backstage and mic crew together it went much better. Didn't miss any cues and only had the one howl all night! The battery in one of the radio mics went all of a sudden on a solo act with guitar accompaniment (so you really couldn't hear her solo) but I managed to grab another mic and calmly walked on and gave her the working one and came back.

 

I don't want to be the star of the show or anything. I just think for 5 hours of rehearsals in your own time and 8 hours over 2 nights it might be nice to get a little thank you at the end. As Tomo said, it's a shame the value of good engineers aren't realised.

[Rowan]

It sounds like you're going about things the right way, getting a team of people to help you. As you go on, they will become better accustomed to what they are doing, and it will come a lot easier to them and you. Try and get a feel for the acts in a planning meeting before the show. If such a thing doesn't exist, then go and see the teacher who's organising the show and ask if you can talk to them about it. Find out who's performing, and what they're doing. It's pretty easy to work out from that who needs to have a microphone and who doesn't.

 

At the end of the day, it is better for you if all of the acts were to go on with a microphone and are all heard, rather than some going on without and not being heard at all. If you're honest with yourself, how long does it take to realise that someone has a mic, and mix it in? I'll bet that before they've got the first few words out, you'll have it at a level that you are pretty happy with. If you go around with a completely inflexible attitude then you will find it very hard in whatever career you choose, unless if course you want to be a traffic warden. Also remember that just because they have a mic doesn't mean you have to push it to its full, that's why the desk has faders on it.

 

Regarding your original post, you're at school to learn, so do it. Copy the settings of the eq onto a bit of paper so that you can reset it, and then learn what happens when you change it. Play a song you know well, and try to make it sound the best you can. Sound is subjective, you may think it sounds the dogs, but Mrs Smith thinks it's crap cos she can't hear her little Jimmy singing. We all know that's because Jimmy's not singing, and there's nothing you can do about that. You can't please all of the people......... so just make sure you please yourself, the chances are it'll sound ok.

[P. Funk]

edit: oops..