Oct 8, 2023
Encounter
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#project hail mary- #the amazing digital circus
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Encounter
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Unit 71 criteria 1
(for acoustics see unit 69 criteria 1)
Natural and artificial reverberation-Natural reverberation is when when a room naturally echos back because every room
reflection-This is when sound waves bounce off of a material for example glass and wood.
absorption-This is when the sound waves with less energy are simply caught in a absorbing material or eventually just lose energy completely.for example blacks are a great absorption material.
angle of incidence- The angle of incidence is where the sound wave hits an objects and what angle it bounces off of it.
Sound waves have a +/- which are the air particles are pushed in and out by the speaker i.e. compacting then dispersing.This is measured in SPL(sound pressure level) DB(decibels) DBfs (full scale-volume).frequency is the measurement of pitch which is the level of the note e.g. high or low.Frequency is measured in hertz which is how many times the wave reaches from 0 to + then back down to - per second.ADSR= attack,decay,sustain and release which is found withing every wave.
For everyday use we have two speakers up in the air in the center of the room two subs underneath the seating bank and two monitors in front of the seating bank.
Tech rider
The band consisted of: drums percussion bass vocals electric guitar keyboard horn trumpet
Equipment needed:
1x soundcraft desk 4x passive speakers maccia srm450 2x amp (used by two passive speakers per amp) 2x active front of house (to the audience) 2x active moniters 2x sub maccie 1swa1501 1x kick drum mic (consenser) 1x floor tom mic (condenser) 1x cymbals mic (dynamic) 1x snare mic (condenser) 1x percussion mic (condenser) 1x bass mic (condenser) 1x guitar mic (condenser) 1x keyboard mic (dynamic) 1x vocal mic (dynamic) 1x trumpet mic (dynamic) 1x horn mic (dynamic) 6x condenser mic clips 5x dynamic mic clips 11x mic stands 4x jack to XLR (for the keyboard, guitar and bass) 4x DI boxes for keys guitar and bass 11x XLRs 3x four way extensions
Hazards in a performance venue
Hazard- Cables run across the floor Who can this affect? Audience members entering the building swell as performers on stage. How can it affect them? It is a dangerous trip hazard that can lead to serious injuries when there is no warning or dim illumination. How can this problem be solved? Glow tape, caution tape, LX tape or a pre-warning and being taped well against the walls can stop the capes being hazardous. Hazard- Battery acid from radio microphones. Who can this affect? Performers mostly but also can also affect an audience if theres a fire. How can it affect them? The battery acid from the radio mics is an irritant, poisonous and highly flammable so if there is a candle on stage there is ignition for a fire, also if this comes in touch with performers skin or mouth this could become a serious or fatal illness. How can this problem be solved? Control of substances hazards to health (COSHH). Sound 3 must constantly check all batteries and use good quality barrettes, changing them regularly. Hazard- Loud noise Who can this affect? The audience members aswell as performers. How can it affect them? Loud noise creates noise polution and increases the sound pressure level and therefore is bad for peoples hearing. Also this can damage speakers and subs. How can this problem be solved? By having an even mix of low and high frequencys on the desk and be cautious of the volume throughout the show. Hazard- Rigging speaker to lighting bars Who can this affect? Audience members aswell as performers How can it affect them? Unsecure speakers rigged to lighting bars could fall from height and end in fatal injuries. How can this problem be solved? By using safety chains, throps, and doing safety checks after rigging and before the shows. Hazard- Electric shocks from wires Who can this affect? Performers backstage How can it affect them? Serious or fatal injurys from touching exposed or wet powered cables How can this problem be solved? By testing all cables before rigging and not using anything with exposed wire, aswell as banning performers to bring any water backstage. Hazard- Speakers acting as obstaces in the wings Who can this affect? Performers coming on and off the stage. How can it affect them? They are a trip hazard and can cause serious injury if crashed into. How can this problem be solved? By making performers aware or these obstacles, moving them out of the way as far from entrance and exit as possible, and illuminating them with either light, glow tape or hazard tape. Hazard- Lifting heavy speakers. Who can this affect? The sound team. How can it affect them? It can damage their backs if they aren't lifted correctly. How can this problem be solved? They should aware of lifting operations and lifting equipment regulations.(LOLER). They also should bend at the knee when lifting heavy things off of the floor, aswell as asking for assistance when needed, also not challenging themselves to lift too much. Hazard- Rigging speakers in the lighting bar. Who can this affect? The sound team. How can it affect them? If they fall when working at height this could lead to serious injuries. How can this problem be solved? Ladders should always be footed by crew members and the person rigging at height should always have two points of contact with the ladder at all times. Also, people observing and helping below should always wear hard hats incase of accidents.
Roles in a sound team
Head of sound- communicates with directors, in charge of bugdet and team, source things for shows Head of sound pick sound team deligate different people for different jobs.
Sound designer- They produce a sound design and are in charge of speaker placement, in charge of get in and outs, source and create sound effects (foley work). They create the playlist and creates cues. They talk to head of sound about budget swell as communicate with the sound team, and talk to the producers about budget aswell as communicate with the set design team to negotiate speaker placement within in the shows set.
Sound 1- They operates shows, (board operation).They are in charge of things that the designer asks for. They are also in charge of things being lifted and put away in get out, communicate with sound designer aswell as sound 2+ 3.
Sound 2- This role is similar to sound 1 as they can also take responsibility operating the desk, running cues, but they also check radio mic sound levels and battery levels.
Sound 3- They have the role of communicating with the cast members that wear radio mics during shows, they dress the performers in the radio mics initially before shows, and constantly check the secureness of the mics on their faces, as well as deal with mic fault and breaks as well as battery changes .
These individual responsibilities can vary from show to show, for example in big musicals sound 3 may considered a more important role than sound 2, as they are responsible for a lot of microphones and sound 2 will only help them or operate or be on book cueing sound 1 during shows.
During Animal Farm where we had a sound team of 5 so these sound team roles varied as we took shifts each night. We all initially acted as sound designers as we rigged and tested the sound rig independently, our lecturer acted as the head of sound.
We would either be operating and mixing the band as well as the 3 microphones that were in use (acting as sound 1); operating sound effects as well as cueing the microphone cues and telling sound 1 when the band came in and out of a scene (acting as a sound 2), or in the corridor being responsible for the 3 actors wearing mics and dressing in their mics before and have them taken off of them afterwards (sound 3).
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Alice Tech Rider
For the show Alice in Wonderland we put together the following tech rider;
1 Soundcraft Si Compact 32
8 SRM450s (Mackie Speakers)
2 SRM015s (Mackie Subs)
5 Di Boxes
2 Compressor Microphones
2 Sennheiser e835s
5 Jack to XLR
20 XLRs
5 Jack Leads
4 Microphone Stands
6 4 Ways
16 EK 100 G3 (Microphones for actors)
We used this tech rider to set up the band and the rest of PA for the rest of the show. We had to change the sound desk during the shows run because I stopped working during one of the performances. We changed to a analogue Mackie sound desk, which I felt was better than the Soundcraft because you could push the band and the microphones more than you could on the Soundcraft and not get any feedback.
Setting Up Recording Equipment and Editing It For Public Showing
For The Beano comeback in October we had to record the show to be made into a radio that was to be broadcasted on Miskin Radio. For the show I had to set up the recording equipment to enable me to record the show and then edit it to make it sound good.
Tech Rider
To set up the equipment I first had to create a tech rider of all the equipment that I was going to use. In my tech rider I had the following 4 Sennheiser e835s, 4 condenser microphones 4 microphone clips, 4 microphone stands and 10 XLRs. Once I had collated this tech rider together I was ready to start setting up the microphones and connecting them to the desk.
Here is a picture of my tech rider;
Set Up
When I set up the microphones I did something called spot micing, which is typical of most radio plays and where you place microphones on certain parts of the set in order to pick up what is going on on the stage. When placing my microphones I dropped three from the rig upstage, in order to pick up scenes being carried out in the upstage area and on the pier. The microphones I dropped from the rig were condenser microphones. In order to ensure these had power I ran three long XLRs from the microphone down the set, ensuring that the cable was as hidden as possible and into the wall boxes on centre stage left and right. Once I had placed these microphones I then put three microphones down stage all of which were on stands. The microphones on stage right and left were on smaller microphone stands whilst the one in the middle was on a larger microphone stand. I put these microphones here to pick up all of the acting that was happening on the front of the stage as well as the back. I then ran XLRs for all of these microphones into the wall boxes on stages left and right. I finally placed two microphones on the far of stages left and right to pick up the scene that took place on the side platforms. Again I plugged these into the wall boxes in centre stage left and right. Once all of the microphones had been place and plugged in I then tapped all of the lose cables down to prevent any actors from tripping over during the show. Once everything had been made safe I then moved up onto the desk to plug all of the microphones into the desk. To do this I had to match up each microphone that I had plugged into the wall boxes into the patch bay. The patch bay allows us to run microphones into the desk without having to run loads of cables. Each of the ports in the patch bay match up to the ports on the wall boxes, so to plug everything into the desk I ran XLRs out of the patch bay and into the back of the desk. Once all of the microphones were plugged into the back of the desk the condenser microphones had been given phantom power and they had been line checked I then set about connecting the microphones to Logic Pro 9. This can be done though the use of a MADI cable which comes out the desk into a Mac. The MADI cable copies the channel inputs on the desk (so in my case it copies all 8 of my microphone channels) which are direct outs into the Mac which then allows you to create outputs on Logic. The outputs are direct copies and will not be effected if the channels are EQ or compression or gating is added on the desk.
Here is the set up with the soundcraft and the computer set up with logic;
Here is the set with the microphones set up;
Recording and Editing
With all of the microphones set up and linked into Logic I was ready to start recording the show. To record the show on Logic all you do is click the little R button on the output display on Logic. This will then record all of the show. Once the show had recorded I was able to edit the recording within Logic. I edited the recording by adding compression and gating to the recording to make it more clear and sounding more like a radio play. Once the recording had been edited it to as ready to be broadcast over Miskin Radio to the public.
Band pit set up
Today we set up the band, the first thing you would run a multicore cable to the band pit which is where the musicians play their instruments during the show. So the thing I did in the morning was cable tidy the cables that are in the back of headphone unit which is for the musicians in ears monitors or headphones, the reason we used the in ear monitors is so we don't use normal monitors which are just speakers,the in ear monitors are quieter. Next we go the band in with all the instruments and got them some chairs and music stands ps they can be comfortable in the band pit,After that we got their in ear monitors level of the mix set up for all the musicians.