Behringer X32 - Audio Media

Of course, with an 18-person orchestra, there are a few
The most unpredictable microphones in
stems on that network, especially as he prefers a stereo
a production are always those worn by the
keyboard and drum feed, and where possible a stereo
actors. Romantic moments inevitably bring
vocal feed: “Some people say they don’t care about having
in some comb filtering, but Andreasen
the vocals in stereo, but they do when they hear it.”
doesn’t jump to the fader for emergency
While the orchestra were getting used to the Aviom
adjustment because: “I think it sounds a bit
system, Andreasen used a small monitor on the keyboards
unmusical.” Worse, Andreasen says, is the
to give it an acoustic presence in the orchestra pit, so the
effect of clothing and hair on those more
musicians could at least get a real acoustic guide while
sneaky mic placements, which he views as
they grappled with the monitoring. The common feeds on
compromises – not near enough to the source.
the monitor units are drums, percussion, keyboards, bass,
So, for Aladdin he took the decision to go for
guitar, strings, reeds, brass, talkback, click, and vocals.
boom mics – specifically 40 of DPA’s dual-ear
For the root monitor mix, one of the theatre’s DiGiCo
omnidirectional d:fine headset mics with two
SD8 digital consoles mixes the stems for the Aviom system
different boom lengths. All were supplied by
into a MaDiRack and directly to the monitor stations via
Denmark’s DPA distributor, Alfa Audio.
the DiGiCo D-16C A-Net card. Andreasen contributes the
Some of the big wins here include the
effects and vocals to the monitor console and each deals
tolerance of the omni capsule to changing
with the orchestra feed for their own purposes.
placements, and the addition of the stability
DPA 2011C twin diaphragm cardioid mics sit amongst
of the capsule position relative to the mouth.
the violins, cello, flute, and brass sections. DPA d:vote
You can even change the microphone without
4099 instrument microphones are used on the guitar
having to detach the cable.
and bass cabinets and as additions on the strings, while
Feedback from the actors is positive too,
another 2011C sits in front of the kick drum. “I was pretty
with most reporting that once used to it, they
surprised about that,” relates Andreasen, “But of course
can’t actually feel the microphones.
you have to have a good-sounding kick drum. You can
And as for the sound, well, coupled with
hear everything in the drum.”
a Sony digital wireless system, Andreasen
reports, “I like the sound of the d:fine capsule...
Theatre Craft
It has an enhanced high end – and I’d rather
At the FOH position there’s a DiGiCo SD7 (the theatre
have a bright mic than a dull one, because you
actually owns two DiGiCo SD8s, but for the show it hired
in an SD7 for front of house to take care of over 100
can pull the bright one down a bit.”
inputs), a TTS Stagetracker system, and a TC Electronic
system 6000, amongst other things. The Stagetracker “I have a
system isn’t actually in use as a tracker for this show - it’s a
surround playout system for the show’s effects. The vocals tendency
are bussed to a 5.1 group, and the orchestra is bussed to do a
Performance Specialist
As a Disney partnered production, Andreasen
was aware that he needed to be in full control
in order to fulfill the audience expectations
as well as his own. This was never going to be
to the main left-right group - though Andreasen uses lot more...
the option in certain instances to route instruments to
the rear channels via an auxiliary. “In some scenes, in the Maybe it’s a
late part of a song, I will bring a lot of reverb and some bit less safe,
brass to the rear speakers... just to bring out another
dimension - to ‘make’ a big number that might be ten but I can’t
minutes, that needs a crescendo....”
program
simple reinforcement.
Andreasen describes the sound of the show
as a more “polished” performance, with a fair
amount of compression to help ‘apparent’
loudness. He agrees that it is more filmic,
especially with the addition of surround and
an LFE channel. Some aspects of the orchestra
Andreasen does a fair amount of live mixing, which a show
is in contrast, he reports, to a particular broadway show
he went to observe. “I have a tendency to do a lot more... where it’s
Maybe it’s a bit less safe, but I can’t program a show where completely
it’s completely static; I have to have fingers in there... And I
have groups from the orchestra on the board all the time.” static; I
He admits to changing things a fair bit from have to have
are panned into the surrounds at various
points, but they are mostly for effects.
The show itself is energetic, tight, and
funny, and the on-stage performances are
completely committed. This is perfectly
complemented by Andreasen, who obviously
cares a great deal about his own performance
show to show, especially in the early phases of public fingers in
performances: “I always figure out better ways of doing
things - change reverbs and things like that. I try to keep there...”
on the evening, the quality of the sound that
comes from the stage, and considers himself to
be an active part of the show, rather than just
the whole show as it is and add small things.”
Tim Andreasen,
Andreasen is not keen on ‘creative insights’ from
everyone on a production, but he does concede there Sound Director
is a place for it: “Last night I spoke to the
guy playing percussion,” he says, ”Who had
heard a recording of the show. He said on one
song ‘it might be a good thing to bring one
thing out’... When you feel you’ve got a full
mix, you don’t hear the things you’re missing.
Maybe you’ve missed something that’s
being played.”
In other words, the percussionist had an
inside track on an absent note or instrument
and was able to point it out.
“It’s great,” he continues. ”If it’s done with
respect, its fine. I love to get the Musical
Director to hear the recording before opening,
just to ask ‘is this the way you think it should
sound?’ But I don’t want any comments on
the build up... I know I don’t have this or that.
I’m the first one to hear if a microphone is not
on... don’t worry about it.”
a baby-sitter. ∫
audiomedia.com | November 2012 37