I know I tend to bang on about the good old days a bit, but a recent set of problems got me thinking, which is why you’re reading this. In those dim and distant days when I first started working in theatre sound in the UK, equipment choices were relatively simple: playback was via a number of tape machines—two, for minimum versatility, increasing as the shows became more complex. I think six was the most I ever had to use on a really complicated show, effectively giving me 12 ...
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