I was really fortunate to be given the Audio Op position on the recent Melbourne production of The Graduate. (Yes Jerry Hall was in it, yes she's lovely, no, she's no Meryl Streep but she did a great job). The system was provided by JPJ, who I have never worked for before.
The console was a Yamaha DM1000, which being a broadcast desk had no graphics - so the channel parametrics had to work very had - very severe cuts on the plate mics. The inputs were 8 channels of QLab, audio fx and music, 2 radio mics, and and 4 Crown PZM mics.
Each day there were shows (six days a week) I had to check that each and every speaker was working in the FOH, fills and three delay rings, mix the mics (striking the balance to try and make sure the maximum volume without having the PA being obvious) and act on cues from the SM. I also had to archive the shows and deal with charging and prepping comms each day. Each task was a pleasure to repeat - it's been a long time since I did the same thing two days in a row. It as a fantastic experience and I'm hoping to do more theatre soon.
Some reviews of the Graduate from the Herald Sun, TimeOut, and The Australian.
The console was a Yamaha DM1000, which being a broadcast desk had no graphics - so the channel parametrics had to work very had - very severe cuts on the plate mics. The inputs were 8 channels of QLab, audio fx and music, 2 radio mics, and and 4 Crown PZM mics.
Each day there were shows (six days a week) I had to check that each and every speaker was working in the FOH, fills and three delay rings, mix the mics (striking the balance to try and make sure the maximum volume without having the PA being obvious) and act on cues from the SM. I also had to archive the shows and deal with charging and prepping comms each day. Each task was a pleasure to repeat - it's been a long time since I did the same thing two days in a row. It as a fantastic experience and I'm hoping to do more theatre soon.
Some reviews of the Graduate from the Herald Sun, TimeOut, and The Australian.
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