Issue link: https://digital.copcomm.com/i/1474752
Fall 2022 – LOCAL695.ORG 31 Have a Plan Out of all the advice I can give for up-and-coming Live Sound Mixers is to have a plan. In the TV world, your template on your mixing console is what allows you to reach for anything you need, be it certain processing, or particular inputs not normal to most shows and many options for routing outputs. In our current time, one of the more popular platforms is DiGiCo. I myself mix most every show on a DiGiCo SD5 or SD7 and most recently, the Quantum 7. These consoles offer an extreme amount of inputs and outputs and a slew of processing and FX to go along with it. Because of this, I am able to build a template that will allow me to access every input on the show. Even if it is a certain video bus from the broadcast truck or a remote package, you never know what an artist may perform along with. As for outputs, I try to have at least twelve channels of RF in ear monitors, four channels of hardwired ears for upstage drums, keys, etc., twelve available wedge mixes, along with stereo side fills. That allows me to get what anyone needs quickly. Being the guy holding up rehearsals while searching for something you did not plan for is not a comfortable scenario. Trust me. In that same plan should be the homework to get as much information you can get ahead of time. It is usually all right there with production paperwork, phone numbers, emails, etc. The shows I work on usually offer as much info as possible so you know where the performance is, such as main stage satellite stage, etc. It also tells you who is involved with the performance, what instrument they might play, if they have a vocal mic or what their preferences are, such as in-ear monitors or wedge monitors. In the world of Super Bowl halftime shows, that plan also includes a stage that is comprised of twenty or so individual 3,000-lb carts that come together to form a single stage. All of the cable routing has to work in accordance to how the stage breaks apart. Wedge monitor locations have to be meticulously mapped out to both be effective but not in the way of staging. I have done twenty- six halftime shows, both on the field and behind the console and it never gets old. Along with structural planning, a good conversation with the touring Monitor Mixer can get you way ahead on what expectations are. This info has especially allowed me to build a "predialed" snapshot for that artist or band before they arrive for rehearsal. After all, their mixer knows what they like, but I know the layout of the show. So, guiding them through that process is key and I try to have as much done in advance to where nobody is waiting on us. The TV show soundcheck has been whittled down to the Stage Manager sometimes saying to let them do a pass while they already start looking at camera shots. This is not ideal but they play and my tech onstage rattles off requests from each player on intercom and you quickly make the adjustments. By the end of the second pass, the band settles in and they do a few more camera passes and they leave happy. That is my goal. Situational Awareness The idea of being aware of what is going on around you is, to me, a very important aspect of life. Not being caught off guard and ready to deal with anything coming your way and even predicting what may come your way is a basic in my life. The same goes for the show or event environment. Having some knowledge based on a little due diligence can let you know important details such as limitations of performance