>
> It just occurred to me that most contributors here are those that largely
> support bands (even the church jobs). I don't recall ever seeing a
> contribution from theatre engineers (i.e. those that support musical theatre
> and the like on long residential runs). It seems to me that this requires a
> wholly different approach (but I may be wrong). For a start, running a
> whole bundle of radio lavs presents it's own set of problems and I have to
> say that most (but not all by far) of the live productions I have seen have
> been truly excellent in terms of quality. I'd really like to know (as a
> matter of interest and curiosity) what problems these sort of productions
> present and how they are overcome. Does anyone here do any of this stuff?

> It just occurred to me that most contributors here are those that largely
> support bands (even the church jobs). I don't recall ever seeing a
> contribution from theatre engineers (i.e. those that support musical

> and the like on long residential runs). It seems to me that this requires

> wholly different approach (but I may be wrong). For a start, running a
> whole bundle of radio lavs presents it's own set of problems and I have to
> say that most (but not all by far) of the live productions I have seen

> been truly excellent in terms of quality. I'd really like to know (as a
> matter of interest and curiosity) what problems these sort of productions
> present and how they are overcome. Does anyone here do any of this stuff?
>
> Regards
>
> Chas
> ...

>Oddly enough I just did sound for a Cinderella musical this week.
>The client only wanted 4 boundery effect mics.
>I used 2 JRX112M in the angled down mode on crank up stands. The
>venue was a multi purpose room (gym with stage).
>The result was quite satisfactory to me and the client.
>The first rule of wireless mics is - don't use them unless you have
>to. The second rule is - if you have to use then don't use cheep-o
>junk. The third rule is use fresh batteries.
>The forth rule is you can do everything right and still have
>problems.

>
> It just occurred to me that most contributors here are those that largely
> support bands (even the church jobs). I don't recall ever seeing a
> contribution from theatre engineers (i.e. those that support musical
> theatre and the like on long residential runs).

> It seems to me that this requires a wholly different approach (but I may
> be wrong).

> For a start, running a whole bundle of radio lavs presents it's own set of
> problems and I have to say that most (but not all by far) of the live
> productions I have seen have been truly excellent in terms of quality.
> I'd really like to know (as a matter of interest and curiosity) what
> problems these sort of productions present and how they are overcome.

>

>
> Sound folks have been doing theaters before good wireless
> was available or that reliable.
>
> Additional hints for theater sound:
>
> Attend rehearsals. DOn't be afraid to mark up your script
> liberally so as not to miss your cues.
> KNow that script cold forward and backward because about the
> time you expect to depend on your cues coming to you from
> the clearcomm somebody will be yakking away about something
> else.
>
>
>
> ...

> Sound folks have been doing theaters before good wireless
> was available or that reliable.
>

> Additional hints for theater sound:
>
> Attend rehearsals. DOn't be afraid to mark up your script
> liberally so as not to miss your cues.
> KNow that script cold forward and backward because about the
> time you expect to depend on your cues coming to you from
> the clearcomm somebody will be yakking away about something
> else.
>

> It just occurred to me that most contributors here are
> those that largely support bands (even the church jobs). I don't recall
> ever seeing a contribution from theatre
> engineers (i.e. those that support musical theatre and
> the like on long residential runs). It seems to me that
> this requires a wholly different approach (but I may be
> wrong). For a start, running a whole bundle of radio
> lavs presents it's own set of problems and I have to say
> that most (but not all by far) of the live productions I
> have seen have been truly excellent in terms of quality. I'd really like
> to know (as a matter of interest and
> curiosity) what problems these sort of productions
> present and how they are overcome. Does anyone here do
> any of this stuff?

> It just occurred to me that most contributors here are those that largely
> support bands (even the church jobs). I don't recall ever seeing a
> contribution from theatre engineers (i.e. those that support musical
> theatre and the like on long residential runs). It seems to me that this
> requires a wholly different approach (but I may be wrong). For a start,
> running a whole bundle of radio lavs presents it's own set of problems and
> I have to say that most (but not all by far) of the live productions I
> have seen have been truly excellent in terms of quality. I'd really like
> to know (as a matter of interest and curiosity) what problems these sort
> of productions present...

> On Tue, 1 Apr 2008 09:29:07 +0100, "Chas Gill"
> gollum.btinternet.com> wrote:
>
>

>> PS: Is there ANYTHING that can be done to minimise crosstalk between two
>> radio mics when the actors are in close proximity? The best solution I have
>> found so far is to mute one of them but to be ready (VERY ready) to open it
>> again as the actors move apart (which isn't always when one might
>> expect!!!!!).
>>

>
>
> fair question!!!
>
> yes and no...
>
> i run a porgy and bess and the obvious part that they declare their
> love is sung at about 20 cm apart from each other.
> ...