Friday, November 21, 2014
So that's my view for most of a show.
Well, not really. I sit pretty high, and I make it a point not to let my head get buried in the gear. I just have to glance at the computer every now and then to make sure the right sound cue is loaded. Cues are fired from the MIDI keyboard, with additional wind noises improvised from same. The script is out of frame to the left. The major entrances and exits are all programmed, and scenes are called up with the User-Assignable Buttons there at the far right edge of the LS-9. Unfortunately there aren't enough channels to have body mics, chorus mics, sound effects, effects returns, and band all on the top layer, so I spend a bit of time flipping back and forth between layers.
Anyhow, a lot more spacious than what the poor muso's see during the show:
This is looking from about where the MIDI gear of first keyboard sits towards drum land, with the multi-reed seated in a tiny corner right beside the drums.
I'd have the kit properly mic'd, but the drummer is uncooperative; he's playing loud and inconsistently, and he took it on himself to move the kick mic because he thought it sounded bad. I only use the overhead for the show now; the rest of that is all muted.
And just for fun, here's how I'm dressing one of the body packs for the show:
Connector is sealed with heat-shrink and hot glue. Then moleskin is wrapped around the connector, the antenna, the top of the mic, around the element right behind the head, and on the cord just before the connector.
Next, first condom is sealed over the mic with wraps of waterproof tape. Then a second condom is put over that, then the whole thing goes in a mic bag.
This sort of abuse explains why, at least once a run, I have wipe the accumulated goo off the microphones with Goo-Gone, and soak the elements and filter caps in alcohol.