Issue link: https://digital.copcomm.com/i/1545215
12 PRODUCTION SOUND & VIDEO – Summer 2026 The Audio Patch Book details all the show's patching needs. RF mics, orchestra instruments, band instruments, vocal mics, and the audience mics come as analog inputs. Others arrive via fiber, including ATPB, VTPB, Pro Tools, and other high-level feeds. All are turned into analog sources to patch into our three 56-input analog splitters. Each splitter has a direct output and three split outputs. The direct is patched to the console providing phantom power. The direct and split outputs feed proprietary devices for each type of console. FOH and monitors use DiGiCo desks and are connected to DiGiCo SD stage racks, the Denali Summit truck uses a Calrec console which is connected to Hydra stage boxes, and the two M3 music trucks feature Lawo desks and 5x8 stage boxes. In the patch room for the Oscars, we used six SD racks, three Hydras, and four Lawo boxes, two for the orchestra going to M3 Eclipse and two for bands and vocals patched to M3 Voyager. All the stage boxes connect with the consoles via fiber using proprietary language. The DiGiCo speaks Optocorean, the Hydra uses Hydrish, and the Lawo language is Lawonian. Many of my Oscar highlights involve the wonderful orchestra made up of forty of the best players anywhere. I am fortunate to have known many of these talented musicians for years. First trombone player, Andy Martin, and I met in 1979, months before I started in television. Harpist Gayle Levant has graced almost every Oscars I've attended. Being in the presence of this amazingly talented ensemble is a special kind of fun. One last bit of Oscar Orchestra business. For the first time in my tenure, I put a mic on a bum drum. As Damon would say: END IT. Composer and Arranger Chris Walden Harp strings, orchestra