Hey All,
I’m Jonathan, I have been working on the entertainment since early 2000 as a Dj - Sound Tech - Light Tech - Production Manager and lately became an Audio 1 for big musical as you can see in this channel.
Currently jumping into one of my earliest dreams.
Have my own studio.
This channel is to show a new generation of sound tech who maybe doesn’t know or just want so see the difference between live band mixing or musical theater “book mixing”
Fell free to comment respectfully and ask any doubts.
Thanks for watching.
Пікірлер
I could recognise that booth in my sleep 😂 .. good ol Harmony OTS
I tried this once. Major interference from radio mics turned it into a nightmare. And I wasnt aloud a Rehersal and hadnt set the system. Absolute nightmare. Stuck with LX ever since.
hi，how to trigger qlab cues by mixer SD ？or Stage manager played the cues next to u? Please tell me. Thanks.
Hey! Basically you assigned a MIDI note to the SNAPSHOT at the Digico session. Then same note on QLAB - Trigger section and works.
Very soothing Tunes.
thanks for the insights. i was wondering, why you do not use a dugan to avoid spilling and comb filterung within a scene...with the advantage of reducing the workload on fader movement? Can you please give us a pro and con...
Hey!, to be honest I did know about Dugan technology. I did my research on that looks great. From my side, I learn this technique and I do feel confident. About comb filtering or any spilling, the level that I manage on those mixes are barely into the speakers (dialog) and with the live orchestra is very difficult to hear those. Pro's on tihs technique, you are part of the show as another cast member, so you can react in real time on what is actually happening on stage. Also one of my belived is try to do shows more human, as I always say: "...if you want perfection everytime, just play a movie..." Con's: You have human error on coming late in a line or maybe not be a the right level, usually this issues you will have them right at the beginning of your fader rehearsal, but once you create your "muscle memory" on your finger everything goes smooth. Hopefully that will answer your question. Thanks for watching.
저는 한국 음향엔지니어 입니다. 당신의 음향 시설을 보고 한국 음향엔지니어들은 당신을 부러워 할 것입니다.
I’m a Southamerican sound engineer, and I still cannot believe I’m able to run those system 😂, and over the years I’m still not that good…
This doesn't seem very "rock" for something called "we will rock you"
Well, is a theater musical that contains only song of Queen. I do believed is fair to say is rock enough, isn't it?.
I feel you bro..👍🙏🏻
Soon to be replaced by AI!
Who knows, but while not, enjoy the ride… :)
rude.
Hi, I just wanted to ask how your approach to mixing a musical would differ to a concert for example, are their any differences in how you would EQ, Compress etc. ?
Uhm, Big question: Concerts you want to make sure everything is there, feel the power off the speakers, etc. on this kind of show you want to make sure sound "almost" like a live movie, dynamics is extremely important and levels (when it come to dialogs) are coming out from the speakers enough to support the further audience, but still have a feeling/perception is the natural voice of the performer. Same with the orchestra, depending what is going on at the scene, you want to make sure Dialog are above orchestra or if is a dancing moment, blended as a full song. When it comes to EQ or Compress, well are general rules, in this particular case I do have 32 DPA 4066 (omni directional) so your EQ is going to be rule by the feedbacks, you want to EQ base to avoid feedback first, then quality sound. Of course this will happen right after Mic positioning, this one is head worm. Compression, mainly at the orchestra when is need it, and couple of subgroups, just to help to lift some low level, but nothing crazy. I do not use gates over all. Well Fx, just the one belong to DigicoSD Series, I'm not fan of WAVES at all. Hopefully this will answer your questions. Thanks for taking the time to reach out. Good luck!
May I know the speaker system used in the video?
Meyer Sound - M’elodie sir ;) with 2 subwoofer of double 18 700hp.
isnt that radio gaga?
Yep, but lyrics are slightly change to match with the story of the show.
I remember when my school done We Will Rock You. I did sound for it but I used the x32 compact. Best show I have done so far.
Tell le about it, the show is funny but also is all QUEEN, I haven’t done any other show that makes me feel as excited to run it as that one.
@@bluewavesmastering2284 yea such a good show, but this year my school is doing beauty and the beast. Not the best for songs lol
How do you trigger the qlab cues or are all of them on a prewait timer thing
It likely is trigger by OSC or midi through lighting.
QLAB is trigger by MIDI at the snapshot. At the moment I recall the snapshot either fire selected or pressing (next) will send the MIDI note to be trigger.
@@Isaac-qg4shIn this case MIDI but yep you were right ;)
@@bluewavesmastering2284 interesting, thanks for letting me know
Hello! Super sound! Im curious why this fader technique still exist. I mixed musical type of show and i followed the script too but once i learned the right fader level its stored in a snapshot as well as the mute/unmute for the character on stage and off stage. I can still adapt levels if the actor is different or has a problem but the starting point is this. At the end by doing this i can adjust eq and a lot of parameter if needed when a dpa is off axis and use my ear for sound too. Isn't this technique taking you away from doing sound ? Especially on a console like sd7
Hello!, I do have those mute/unmute underneath the other layers, especially with the live orchestra. In this particular case I do trigger SFX trigger by midi on snapshot and also I do trigger click & timecode for them starting to play, some fader inside of the control groups will have changes in between. The live orchestra is already pre-mixed and All EQ are being done during soundcheck and/if there is a DPA out of axis, I do have an A2 who is following all show and adjust/clean/blow out mics when they go back to the wings. This particular perform has 27 performers, and will be very tricky to do sound while playing live, but when you know the script you know which places you can do emergency EQ and where you can't. :D -Thanks for watching and the question.
@@bluewavesmastering2284 oh yeah that's huge! And the fader on center bank are cg so? And just why lowering fader alltheway down when actors are aware of when to speak and when not? To prevent feedback with omni mic ? Or to be sure nothing get trigger at the wrong moment?
@@alexmdrful hey!, all of them at the center section are CG with performers faders and at the last 4 fader will be FX - BGVs - ORCHESTRA - DRUMS, I bring all of the down just to keep the scene clean, out of breathing or anything
what song it this called? love the mix too!
Peter Grant - When you were my girl. Thanks for watching 😊
Hey! What makes you want to ride the faders like this, i'm curious. Why not just mute/unmute for the duration of their lines? Surely you'd get different gains each time you bring up a fader, plus if the performers (for whatever reason) go off script you're not prepared for it. My workflow as a theatre sound tech (venue depending) is typically to unmute when performers are on stage and noise gate them as to not spill track/other lines. Big up the Toblerone :)
Uhm, surely mute/unmute + gate will do the job as well. In my particular case I do learn the script by heart. Also my muscle memory on my fingers allowed me to be couple of dBs below and be live right before the line is about to be perform. Personally I rather correct from less level and add more. Also I’m not fan of using gate unless is extremely necessary. I might be wrong but over the years I never experienced any show that need to be using gate at any part of the show.
1:56 One of my favourite parts of mixing is getting to 'play' with the effects along with the band😁
Yep, I think that is the best part, when you are able to merge with the orchestra and do our craft :)
live band?
Yep, 10 piece orchestra - 25 mic performers - plus tracks and SFX.
ah indipendence of the seas...
This one it was Harmony ;)
Nice work man!
Thanks for taking the time to look at them… is to show other is not only massive concerts or dj raves :)
Sometimes we need that sugar push xD! Hahah😂😂😂
thank you a lot for your videos
totally agree with the toblerone for a mixing snack. :P
Mamma Mia!!!!
The way I do it is setup cues on my midas m32 during rehersal and its smooth sailing from there.
Love the videos. I am mixing my school’s elementary musical in 2 months. Gonna be the first time!
Sorry I just saw this message, go for it, practice your script and have fun, you will never be ready and never will be. I'm still failing so have fun!
What is that E-stop button behind you for?
To shutdown the entire power booth in case of an emergency :)
@@bluewavesmastering2284 What cases would it be used? An emergency like a technical issue where it causes physical issues or what? just curios haha
@@Deityyyyy can be anything, buuut mainly if there is an electrical fire that involve the equipment. So you can shutdown the entire booth
@@bluewavesmastering2284 Makes sense, thanks!
Hi :) Thanks for uploading! Did you work with Yamaha consoles before? Like rivage pm7 or 10? If so, can you compare it to your digico equivalent? Do you get to chose yout operting system?
I haven't work with Yamaha in a Musical Theater, so I won't be able to do a fair comparison, I did work with some QL and CL and the biggest concern that I had it was the motor of the faders and how wide are the "cap" of them. But most probably is because I have been working with Digico for the last 8 years. I was not able to choose my system, but to be honest no need, I use a SD7T with Meyer Line Array and a whole of outboard gear as per requirement. Also mic are DPA 4066. If at any time I do need to choose some system I will ask the same. Thanks for asking.
Sounds great man! Also mixing musical shows for open-air/outdoor Theater but I'm used to work a lot more with scenes and just moving faders for smaller volume purposes or delay throws etc. Saw a lot of videos with line by line mixing is this better just to get rid of comb filtering or generally to have more control during the show?
Uhm, that depends, I am in a indoor controlled environment theater, so is "easy" to do just book mixing. It just make sense when you finally learn the show and go with the performers line time. Actually when you get the muscle memory and you stopped to watch the script the show just go. Also in that run I had all performer with DPA 4066.
does anybody have the link to script holder??
I haven't sorry, I was given a paper copy for that show.
@@bluewavesmastering2284 all good, do you know any names of script holders that i can try?
@@emerjins3923 Uhm, sadly no, because this theater is in a Cruise Ship. Let me see if I can contact that ship and get the PDF and the autorization to share, if there is any.
@@bluewavesmastering2284 sorry it’s ok, i bought a treadmill book holder and sawed off the bottom of it
@@emerjins3923 Sweet... sorry for delay, I am at sea xD!... good luck!
I went to a frozen musical this year with school, and I got to see the sound guy mix the second half of the show. He was using a digico sd7 as well and this video looks just like how I watched the guy do it live.
Running a show doing “book mixing” is such a different feel. Also will give you so much new skill to other live mixing type of show. As soon as I can I will upload a new video with my phone right above my hands for a close up. This time was mixing Grease the Musical. Thanks for you comment;)
Your welcome and thanks for the reply.
Really cool video. I think the UK tour used a yamaha and you can definitely tell the difference. The SD7 is so much better 🙂
To be honest any DiGiCo is sooo versatile that helps A LOT!... thanks for watching. Currently I am mixing Grease in a SD5
Wow this is amazing. Thank you for providing this. I'm learning about line by line mixing.