THE GET IN (5th & 6th February)
This is a picture of me setting up the band pit. specifically assembling the mac for the use of keyboardist 2 ( Ms Himmel) and her amp.
This is also a photograph of me assembling the mac for use of the keyboardist in the band pit before the rehearsals.
This is a photograph of the multi-core we rigged on the IWB's that went from just next to up stage right to the sound desk up in the box. We used black electrical tape to secure it to the rig instead of cable ties to reduce risk of damage to the cable as it was expensive and hires from CPS. To do this we had to work up a ladder and the tower in a group so we used correct PPE such as helmets.
This is a picture of me plugging in the correct cables into an amp that was linked to the ES rack which would power most of the sound equipment we hired such as radio mics and band equipment.
This is the back of the ES rack, specifically the choral/floor mic inputs as we had to change the XLR cable because it was faulty.
This is a picture of one of the hanging microphones that was at the back of the stage, to show the length we decided to put them at down from the rig so that it would still be able to pick up decent level as well as being out of reach to Actors/Dancers or the placards that were used in the first scene.
THE SHOW (7th - 11th February)
This is picture of Rowan and I operating on the sound desk in a rehearsal.
This is a photograph of the wiring we had to put into the back of the Mackie speakers and daisy chain into an amp that was kept in prompt corner. These speakers were used for both the cast so they could hear themselves and also for specific sound effects such as the beginning of the Swan Lake sequence were the sound needs to be coming quietly from stage before erupting out the main speakers.
The above three photographs are evidence of "Squeaking". A procedure that helps to reduce feedback by cutting appropriate pitches of sound, to do this you cause feedback from the microphone then cause feedback on the desk and try to match both of the pitches of feedback together before dragging down the correct pitch of sound to reduce the risk of that pitch of feedback returning.
This is an example of human error and how a simple mistake can cause quite a bit of grief. This was the patch for Micheal's microphone, and our first impression when his microphone wasn't working was that his cable was faulty so we changed a load of cables until we finally realized that it had been patched wrong initially.
This is a picture of how the cast had to have their microphones attached having had a change in decision after realizing that the microphone level wasn't good enough in the hair line so we then decided to put the mic on the cheek which resulted in much better sound quality but sacrificing some of the artistic integrity of the show by making the mics visible to the audience.
This shows us preventing a trip hazard and attributing to health and safety by masking tape loose cables such as multi-core and XLR cables to the wall. We did this after having it pointed out to us by the Director so as a point for next time this could be done straight away instead of having it to be pointed out to us.
THE GET OUT (13th February)
This is evidence of the doing the get out and me pulling the bands multi-core from underneath the stage and coiling it ready to be used again. This proved to be quite a task as it had gotten stick underneath a big roll of carpet that was very heavy and could have been avoided, so another note for next time this could be avoided by making sure nothing can roll/fall onto any cabling and making others aware that there is an important cable there.
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