Microphones & Amplification On the first performance, 4 DPA 4060 omnidirectional microphones were used, attached under the bridge of each instrument, using the bespoke mic mount (MHS 6001): These or similar seem to be a good choice for this piece. A stereo PA should be employed, with each instrument panned according to position. Mixer Notation The mixer indications are indicated in fours staves above the instrument staves in the score. As <strong>Evangelist</strong> only explores volume (as far as the amplification is concerned), the only directions given are volume indications. Volume levels are indicated by a number between O and 4, 4 being the loudest and O being the minimum (or off completely). These are of course relative levels. During setup, the sound engineer should take time to work out these 5 discrete volume levels on each instrument, effected by fader movement on the desk. How distinct they are from each other is essentially down to the engineer and the quartet to work out what's best for the performance in the particular space the piece is being performed. Static levels are indicated by a number in a square box. For example, the opening of the piece has settings 1, 1, 4, 1 for violin I, violin Il, viola and cello respectively: which on the mixer might look a little like this: Vn. I Vn. Va. Vc.
Obviously the chances of level 1 being at the same position on each channel is unlikely, but this gives a basic illustration. Gradual changes are indicated by numbers in a triangle, and a connecting line showing the direction of the fader movement. They show the starting level and the final level. Where clarification is required, standard notation is also used to indicate the duration or starting time of the move: The engineer should make any other adjustments for balance during the piece as seems appropriate.