Issue link: https://digital.copcomm.com/i/756621
26 The current digital boards seemed too simple in their looks; instead, production pur- chased a Yamaha analog mixer, circa 1990s, as it had about a thousand colorful knobs. As far as dress verses practical, there were several decisions regard- ing the EQ, racks, wedge mon- itors, side and drum fi lls. We did full live recordings of all the bands with their complete rider requirements. The difference in manpower and time is half-day with one music Playback Operator for straight music playback versus a three-person crew and two days of prep and recording for each band with live records. Clearly, effi ciencies were im- proved when we used the same stage for all the band record- ings and it was redressed to represent the different concert tour venues. We did do two episodes "on the road," Halsey at the Honda Center and Phan- togram at the Roosevelt Hotel. There were very few turn- arounds as the shots looking at the audience were actually done at the real venues, the LA Forum and Staples Center, and all the stage views were done on Stage 25 at Manhat- tan Beach Studios, with the exception of Halsey and Phan- togram. The Honda Center and Roosevelt Hotel episodes were smartly scheduled after the fi rst few episodes, so by then, we had our system down. The live recordings resulted in absolutely real and authentic performances with excellent sound quality by all the bands. Timing and other potential problems were avoided be- cause all the dialog was before