Anyone who has mixed a “talking head” gig knows there are challenges to the job.Sometimes they are simple events that only last an hour with one mic on a podium, while others last for days — long days, sometimes eight to ten hours long, sitting behind the console listening to people talking…incessantly.
Who doesn't like EQing a room? I mean, you have all the power in your hands. You choose the music. You choose the pink noise level. You get to say, “I will now listen to Steely Dan.” And then you get to twist all of those knobs. The lights bounce, and the LEDs pulsate. It is dizzying, exhilarating. It's boring. Let's get real. Does anyone really enjoy listening to pink noise for an hour?
Before it's show time, it's EQ time — time to tune the system. A hundred boxes have been hung all over the place, and now they have to sound good. Everyone clear the room; this could get ugly. Pink noise — loud, pink noise — microphones are all over the theatre and the designer is sitting behind a computer screen staring at some bouncing lines and listening to the same Suzanne Vega song over and over — and over again. Tuning a system is by far the most important task in designing a show.
At the 2014 Broadway Projection Master Classes in the session "Focus On Broadway II," video designer Ben Pearcy of 59 Productions (War Horse) discusses 59 Productions’ work on this season’s productions of Big Fish, Hedwig And The Angry Inch, and Les Miserables....More
2014 Tony nominee Peter Hylenski—whose prior Tony Award nominations were for Motown, The Scottsboro Boys, and Rock Of Ages—discusses his sound design for three current Broadway musicals: Bullets Over Broadway, Rocky, and After Midnight (for which he received this year's Tony nomination)....More