Issue link: https://digital.copcomm.com/i/1277927
THE HOUSE Veteran house mixer Patrick Baltzell CAS has helmed the house mix duties at the Oscars for 33 years. Patrick shares the challenges of the stage monitor mixers in that he has to produce a mix that engages the audience, while minimizing adverse effects on the broadcast mix. In addition to the musical performances however, Patrick has to make sure that all the spoken words are clear to everyone in the house. This starts with the host (when there is one). If you can't hear the joke, you don't laugh. And if the audience isn't responding to the spoken word, just like with a music performance, the broadcast won't get energy from the room. More challenging can be the presenters and the acceptance speeches. With presenters, you often have pairings that have very different tonality, vocal level, and projection in their voice. However, they are both on the same mic. This while they try to read a teleprompter, something they are very often not used to doing. And when it comes to winners, well, all bets are off. Every sound mixer watching the show has to cringe when a winner bends down and "swallows" the mic. Then followed by the person who stands in a different ZIP code from the mic. Patrick has to have a quick hand on the fader to catch the screamers or push the level needed for the whisperers, always trying to minimize the effect on the room tone the broadcast truck picks up. It's a balance he walks with a delicate touch and fast finger on the fader. Patrick optimizes tools for the challenge by carefully designing the sound system to minimize open mics picking up house sound. He gives the production the best advantage by designing the house PA so that the lowest boxes in the line array system are not fed by lav and podium mics. To cover the first rows of seats in the house, he instead uses strategically placed speakers built in to the staging, along the front or built in to the stairs. He also places speakers under the seats in the first five rows of the house. The main key to his design is zoning. If the host, for instance, walks into the house, he can pull down any zone in the proximity of that mic, staying well out of the way of the broadcast and avoiding feedback. This still gives the rest of the audience the sound they need to stay engaged. This zoning also helps stage monitor mixers avoid feedback potential. For the orchestra, Patrick will get different sub-mixes from the orchestra truck, giving him an overall stereo string and horn sub- mix, while getting the percussion elements separate. For guest stage performances, he takes all feeds separately, creating a specific house mix of the band or artist. Patrick wants to get as powerful and emotional an experience as possible so the audience is engaged and provides energy and visuals to the broadcast. He also has to show restraint; understanding that, not only does he not want to compromise the broadcast mix, he also doesn't want to fatigue the audience's hearing. Patrick explains that "when you have to transition from a powerful band performance like Queen, to a comedy routine on lav mics, you have to be careful not to shut down people's ears. You also don't want camera shots Capitol Records Scoring Stage 1 where the music pre-records take place for the Oscars.