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"Consulting our clients on cutting edge entertainment technology " Audio, Lighting, Video, and Venue Design |
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Hi, This is Keith Shuford. The following three articles I wrote for Entertainment Design magazine in 2005.
I have more on the way for not only Entertainment Design, but I have been asked to write for Live Sound International magazine as well. I hope you enjoy... |
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Learning A New Mix, Part I
With Keith Shuford Feb 1, 2005 To begin I must send props to the engineers around the world that are now or in the past have been involved with mixing Broadway/musical theatre. You are truly a different breed. If you are a mix engineer of the concert genre, as I have been for many years — mixing recording artists on tour in arenas, sheds, and stadiums or working the bars and nightclubs with up-and-coming artists — you would be surprised to find how different things are on the other side of audio, that is engineering musical theatre. Coming from the concert side of the tracks myself, I never considered the differences in our worlds. It never even crossed my mind. But there are many more differences than most of us might imagine, and now that I've been introduced full bore to the theatrical techniques of mixing, I have to say, these guys are good. GETTING TO THE DOOR For more than two decades I have been working in the professional live music industry as an audio engineer, production manager, and tour manager. At times I had to perform some of these duties simultaneously — I even drove the bus. Involved with mixing music ranging from jazz, R&B, pop, rock, classical, and — my longest endeavor — country, I have a fairly diverse background. Working both ends of the audio snake, I have been both FOH engineer and a monitor engineer mixing in many different types of venues. I have engineered nightclubs for 600 people, festivals for 60,000 or more, and on various occasions in the near field for live broadcast and studio. My personal favorite is mixing FOH for a large, roaring crowd of fans but all preferences aside I love to mix, period. If it involves a fader, I'll gladly push it. For the past 15 years, I focused mainly on touring in country music. I mixed for artists like Lorrie Morgan, Aaron Tippin, Ricochet, and Tracy Lawrence and toured with artists such as Clint Black, Hank Williams Jr., Brooks and Dunn, Reba McEntire, Toby Keith, Kenny Chesney, and Martina McBride. Until recently, the closest thing I had done to working a theatrical show was in…Bran…uh, uhhm…I can't say it…it was in…uh…okay, okay…it was in Branson. Yes, Branson, MO. There, I said it! It's easy to poke fun at Branson, but I have to say that it was my first step toward theatre. And if it was not on my resumé, I may not have the job I have now. I moved there to get off the road and try my hand at sleeping in the same bed every night. The same bed theory was great but the gig was a bit strange to say the least. And I don't mean because it was theatre, but because it was that theatre. In March of 2004, I moved from Nashville to Las Vegas, where I presently work as the A2 for the Broadway hit Mamma Mia! in the Mandalay Theatre at Mandalay Bay Resort and Casino. Finding an audio gig in Las Vegas is very similar to Nashville, or anywhere else I suppose; everyone has their local clique. You generally do not get a gig without having a foot in the door to the inner circle. Word of mouth is your best resumé. If you do not already know someone in the circle to speak on your behalf, you most likely will not get in. And being such a tight circle, getting someone to speak up for you can be tough. It can affect their ranking if they recommend someone who does not work out. Taking many different turns over roughly a five-year period, I traveled down several long roads to Vegas that eventually ended at the door of the inner circle. OPENING THE DOOR Well, okay, it was more like the back door. Before actually moving to Vegas one of my resumés ended up with Mark Dennis, head of audio for the new Cirque Du Soleil production KÀ that opens this month at the MGM Grand. Apparently, I was near the top of the short list for hire, but a couple of audio guys applied from other shows in town and they got the gigs. Mark was extremely supportive and always helpful during our phone conversations and emails. He seemed willing to help me make the move to Las Vegas (I didn't want to leave Nashville until I actually got a gig), so he gave me the email address and phone number of someone he said I should contact. Mark had handed me the key, now I needed to find the door. The contact info was for David Patridge [ED On Sound; October, November 2004] a sound designer out of Toronto and the associate sound designer for Mamma Mia! Mark undoubtedly knew David had an opening because the two local guys who got the gig at the MGM Cirque Du Soleil show were presently working for Mamma Mia! I emailed my resumé the next day and soon after gave him a call to follow up. After playing phone tag for a few days, David and I finally had a chance to speak. Of course we discussed the standard questions about audio, intercom, video, etc., just to see if I had any clue, and then we briefly discussed my resumé. The majority of my work history over the past 10 years was in country music. David, not being a country music fan, was not familiar with the artists I had worked with. However, he did realize from the positions I had held I was not new to the entertainment industry. Further-more, I had a little theatre experience. Some theatre was better than none I suppose, because it kept him interested. So I had made it to the door… With a spark of interest David followed up buy checking my references. His next call was to the head of audio for Mamma Mia! in Las Vegas, Jason Pritchard. Jason obviously didn't know me from Adam, but he was a country music fan. After seeing my resumé, he told David that I had his attention and he would like to work with me. Jason and I spoke on the phone a few days later and had a great conversation. Immediately it was evident he was well versed in his field and I could learn a lot from him about musical theatre. During our conversation we spent 10% of the time talking about Mamma Mia!, 40% of the time talking about golf, and the rest of the time talking about people I had worked with in Nashville. After the job opening had gone through all the proper channels and the local staffing potential had dwindled, I got the gig. The door to Vegas had finally opened. Now came the hard part. LEARNING THE SHOW For audio guys like me that have been working the concert end of the spectrum, you need to know things are a little different in musical theatre. You have different miking techniques, a storyline to follow, and a show that has 30+ db of dynamic range. As concert engineers, we have to make adjustments on our approach to the mix. One of the first thresholds I crossed was vocal miking technique. The standard handheld (plug in your favorite mike here) was a thing of the past. I had worked with miniature mikes before (Sennheiser MKEs), but we used headsets to get them in close for proximity. Now I was introduced for the first time to miniature mikes at the hairline. Obviously, you do not receive the presence as you do in close miking. Jason did bring to my attention the positive side that the mike is always the same distance from the source. You do not have the frustration of working with an artist or actor that has poor mike handling technique while using a handheld. My first day at Mamma Mia! I entered a very friendly and professional atmosphere. The cast and crew were all very supportive and made me feel right at home. After the introductions, Jason took me on a quick tour, and we brushed on the highlights of the audio, video, and clear-com just to give me basic knowledge of the rig. We did not discuss anything in-depth, as the most important thing for me to focus on at the moment was to learn the mix. Thirty minutes after we met, Jason handed me my copy of the script. He told me I would begin taking notes from FOH immediately to learn the mix. Not having a strong background in theatre and never being exposed to a Broadway show I thought it would be no big deal. The bottom line is when it came to mixing a Broadway show I was absolutely clue free. Jason knew my background was not in musical theatre, but I don't think he realized I did not do it this way while mixing concerts. My first day of training was confusing, because I did not understand the parameters of what I was trying to learn. I first had to teach myself how and what was important before I could actually get a grip and begin to study. After riding shotgun for the first show, I don't think I had more than five notes written on my script and they were extremely vague. I was very confused as to what exactly I needed to write down. Right away I was thrown in the fire to mix my first segment. Not truly understanding the concept of mixing a musical with all the dialogue and constant band pushes/pulls, admittedly, I was a little shaky. And even though he said nothing but positive things at the time, I found out later Jason was also a bit concerned. However, it does seem that dumping me in the pool to see if I would sink or swim paid off to my benefit. Actually getting my feet wet for the first time mixing true musical theatre opened my eyes and gave me a feel as to what was really going on. Since I am one of those people that learn better by doing, I soon figured out why and where I needed to focus my attention. After that, the rest came easy. For the following couple of weeks, I would come in early and sit down at the console with a CD and study. Every evening I would actually mix the segment I studied that day live and Jason would evaluate me. He will tell you that the second time I mixed was like night and day compared to my first. He no longer had any worries that I could make the transition from being a concert engineer. To keep the story short, after I figured out how to learn, I picked it up very quickly. It was not long before I was mixing the entire show solo. A short time later, I weaned myself off of the script and my notes and the rest is history. Oh, and I'm still here. That's a good sign. Next month: Differences between concerts and musical theatre: dialogue, dynamics, and détente. Learning A New Mix, Part II With Keith Shuford Mar 1, 2005 Last month I wrote about my transition from the world of concert sound to the very different world of theatre sound, specifically getting my first gig as A2 on the Vegas production of Mamma Mia! I've learned a lot in the last year and would like to spend my time this month sharing some of my observations about the differences between the two worlds. Learning the mix for a concert touring artist is not much more than being given a copy of his or her CD and trying to emulate that sound in a live situation. It is up to you to interpret sound effects and build the mix. Mixing musical theatre involves a truly different approach. This is a continuous hands on, brain on job. You cannot let yourself get distracted during the performance, because you are constantly involved in the mix. While chasing dialogue and continually moving the band to a different dynamic level and maintaining the integrity of their mix, you are always doing something that is necessary for a quality performance that meets the standards set forth by the designer. Take this ride, mix these vocals, push the band, take a cue, mix these vocals, pull the band, take a cue, chase this dialogue, take a cue, push the band and mix these vocals, and that is just the first scene. This continues throughout the entire performance. Thank God we get a break at intermission. WORDS GET IN THE WAY In a concert situation, you are dealing with close miking on performers who are generally speaking up and sometimes even yelling so they feel the entire audience can hear their every word over the constant screaming and cheering from the crowd. As an engineer you simply keep the dialogue clear and strong. For the most part, it is not that tough considering the close miking combined with the quality and power of large format sound systems today. You are also only dealing with a few choice words to introduce the next song. Turning up a handful of mikes simultaneously for interaction between the band members is common and generally not problematic. In musical theatre, mixing dialogue is a prominent and technique-savvy part of the theatrical performance. In most cases, you are dealing with mikes that are well hidden (in the hairline) so you do not reap the benefits of close miking. You must also consider they are omni-directional mikes and pick up everything, including other actors' voices, reflections off the scenery, room ambience, audience noise, and the list goes on. And then you have the audible phasing problem when two of these omni mikes get close, which happens constantly as the actors interact. These are generally not considerations while mixing in the concert world, but they must be properly addressed in theatre. Compensating for mike interaction and combating the always-present potential for feedback, you have to use a different technique to mix dialogue. At any one time there can be one, two, or a dozen actors on stage engaged in a conversation. During these segments you follow the script word for word (by the way, you need to memorize this ASAP) and do everything in your power to only have one mike on at a time. Now think about it, actors having a conversation that contains lines ranging from one word to entire paragraphs and you want to catch every word but only have one mike on at a time. When two or more actors are in close proximity, you must nail the cross fade between the actors' mikes or you will get nasty phasing. Mixing musical theatre keeps you on your toes. You must be attentive and a part of what is happening on stage, not just someone pushing faders. Dialogue is also required to sound natural and not amplified. This was a tough adjustment for me. When you mix dialogue properly, the audience will have a hard time discerning that there are mikes on stage hence, the natural sound. Landing the faders at the proper position for each line to keep the dialogue smooth and even can be very tricky. You not only need to know the script forward and back, but you need to know the method of delivery offered by the actors. When an actor emphasizes a portion of the line, you must be prepared to duck the extra gain at the proper moment. On the other hand, you must be prepared to boost the softer portions. Concert engineers will be asking, why not let the compressor take care of it? Generally, you do not use compressors on the vocals in theatre. With the extra gain required for hidden, miniature microphones in the hairline, use of a compressor is not reasonable because it will cause more problems than it corrects. As a concert engineer, I relied on the assistance of compressors to hold things together and keep the mix in line, but gain before feedback was not a major concern. With only a few exceptions, musical theatre vocal compression is done manually. From the handful of engineers I've had the honor to meet since my introduction into this world, one statement seems to be common, “I have 10 compressors I use right here,” they say while holding up both hands and wiggling their fingers. DRASTIC DYNAMICS As you get to the musical numbers, dynamics vary drastically. There are times when the mix is so low you can almost hear the audience breathing. Any out of place noises can be very distracting when your show level is in the basement. And hold on to your hat if an inconsiderate patron's cell phone rings. Now from this basement level you slowly build the band from an underscore to accompaniment, and you continue to build throughout the scene providing energy assuring the proper impact to the audience. As the scene unfolds, you continue to build to the climax and at times you are required to take it to the + side of 0db. To better describe this let us consider in a perfect world the dialogue is always constant and the vocal mix progresses with the band mix. Therefore, I will use the bandmaster voltage controlled amplifiers (VCAs) to deliver my point on dynamic range. At the softest point, I'll call it extreme underscore, the band master VCAs are down around -25 and at the loudest point, maybe the last note in the finale the band master VCAs may be slammed to the top at +10. Now that is a 35db range at the console and considering the band is also playing with dynamics this number can raise to 40db+. POLITICS AND ACCOUNTABILITY There are some significant differences I have noticed in the way things are accomplished in musical theatre. As a concert engineer, I had been designing my own sound systems, interpreting and creating my own mix, and making the final decisions on the sound. The chain of command was fairly simple to follow. The top of the food chain is shared between the artist and the artist's management. Obviously, they make all the career decisions. Next come the tour manager and production manager who have the responsibility of getting the show down the road. Then we have the production engineers, technicians, carpenters, and stage manager. Each person is held accountable for his or her part of the production. If there are any modifications needed or concerns about how the show sounds or looks, the powers that be come directly to the engineers or technicians. They discuss the situation and make the necessary changes. In musical theatre, there is a chain of command that must be adhered to and is very different from my past. Of course at the top you have the producers, writers, management, etc. I am not going into their specific duties because I would be doing a lot of speculating. I can say that this group has total control over the entire production, and you want to keep them happy. I will, however, go into the creative/production teams' responsibilities because they deal directly with the show. The production teams include the sound designer, lighting designer, set designer, costume designer, hair designer, music supervisor, choreographer, casting director, and the production supervisor. You also have to work into the equation all the associates that work side-by-side with the designers and directors. These production teams design, arrange and create what you see and hear on the stage. After the show is up and running, they move on to other projects and only return periodically to update and freshen up their piece of the puzzle. Now let's discuss the staff that works the show on a daily basis. First, you have the production stage manager who oversees all aspects of the show and keeps them within the parameters set forth by the designers. When issues that affect the production come up it is the PSM's responsibility to make the immediate and final decision in lieu of the designers and directors to keep the show going. Next, you have the audio, lighting, stage, wardrobe, and hair departments. These departments work hard to keep their part of the show as close as possible to the designer's original concept. Within our department we have the A1, head of audio, A2, and A3. The A1 supervises the department and is the political liaison to the PSM and other departments. In the A1's absence this duty falls on the shoulders of the A2. It is the responsibility of our department to maintain the integrity of the show in relation to sound as it was originally designed. We do not have the authority to make modifications to the show design. However, we do have the power to mix, and we do what we must to keep it dialed in but only to return it to the designer's specifications. Designers have put years into honing their skills and climbing the political ladder. They absolutely deserve our respect. For future reference you need to heed this rule, Rule 1: The designer is always right. When you think the designer is wrong refer back to Rule 1. This can save you a lot of headaches and even prolong your career. Every designer has his or her own thought process while creating a show. If you implicitly support your designer and their design, you will receive respect and support from them when issues that directly affect you arise, such as internal politics. Having a designer you share a mutual respect with provides you a political backer. You gain the ability to say, “I cannot modify that because it was not in the design, but if you like I will bring it up to the designer.” With that statement the conversation usually stops right there and the subject is dropped, because it really was not that important in the first place. This is just one example of the tools outside of the obvious creative and technical skills of the designer you have the benefit of using. These are not available in the concert world. As a concert engineer you deal with everyone's opinion on how the mix should sound. Having designers to defer to gives you the freedom to step back and let them fight it out at a higher level. Taking into consideration this is a magazine and not a novel, I have merely brushed on these subjects. However with any luck you can see the techniques for mixing musical theatre are a bit different than concerts in arenas. It is performed with precision by highly skilled theatrical mix engineers' every day in theatres around the world and I am proud to now be a part of this relatively small and elite organization. If you are considering making the move like I did, I wish you the best. Concert engineers must make adjustments, some to the extreme, but with an open mind you can do it, and I am proof. Keith Shuford can be found on the Web at www.AdvanceEntertainment.com.
Communication With Keith Shuford April 1, 2005 We all need to talk. Be it musical theatre, concerts, or the school play we all need to communicate and work together to create the best performance possible. At times, we can get so wrapped up in what we are doing that we forget there are many other people and departments involved in our production. As if with blinders on, all we see is our little piece of the puzzle and are only concerned about what it takes to make it happen for us. We may not intentionally disregard other departments, but we surely show less concern about how our actions have an effect on them, which, of course, is not a good thing. Everyone should have an accurate idea of what other departments are planning for the production. Ideas that are out of the norm should be passed around to others who may be compromised with the changes. If wardrobe, choreographers, musicians, or actors modify their parts of the puzzle they most likely will affect sound. If sound is not aware of the change, it can have undesirable ramifications on the mix. WHY IS SOUND CONCERNED? During a live theatre performance, sound is required not only to blend the orchestra, but we must also try to fit it “good and bad” into a small window. Musicians who play parts differently than their norm, be it sound or technique, make it harder to paint the picture the designer envisioned. However, the bigger concerns come during dialogue segments. We chase the actor's every whim and, at times, we are required to be mind readers. When dialogue does not sound natural or, God forbid, we drop a line, sound is noticed and obviously in a negative manner. Unexpected changes in line delivery or scene blocking during a segment read directly to the live mix and make it tough for the engineer to keep it smooth. In audio, we need consistency from the stage and the pit to help us perfect the sound of the show. HOW CAN OTHERS HELP PERFECT THE SOUND? As discussed in the March 2005 “On Sound” column, keeping dialogue levels consistent and natural are a big part of theatrical shows. Generally, not using compression to handle the quick peaks creates a scenario that can be very challenging. With the commonly used miniature hidden mikes in the hairline or in costumes, we create a high potential for feedback before gain. These mikes also adversely interact with each other when two actors are in close proximity (especially eye to eye). As audio engineers, generally we are required to chase the dialogue and have only one, or as few mikes as possible, on at a time. We must know the script word for word to be able to nail the cross fade of the mikes to keep the sound reinforcement invisible. Of course, if the designer is using an A/B sound system, things are slightly different, but that's another column. But what if the directors and choreographers were enlightened as to what hoops audio engineers were required to jump through to pull off a quality theatrical performance? And what would happen if they conveyed that information to the actors performing on stage? Maybe all involved could help perfect the sound. If actors truly realized how his or her actions dramatically affected our work, that bit of understanding could allow them to assist with the overall sound. All involved can aid in improving the sound. This not only includes the audio designers and engineers but also the actors, directors, and choreographers. If all parties have an understanding of the potential problem spots, and the actors are directed whenever possible to follow a few short rules, sound reinforcement can be much smoother. KEEP IT CONSISTENT Just as performers are directed and strive to keep blocking or dance choreography consistent, sound technicians also need that consistency in the delivery of their lines. Once the expected settling in period has expired after actors learn their parts, it greatly benefits the audio mixer if the delivery is the same show after show. Or at the very least, refrain from drastic changes. Sound settles in to a groove. We get into a rhythm after mixing the show for a while and rely on consistent delivery from the stage to keep the mix smooth. Theatrical mix engineers not only learn every actor's lines from the script, but we also learn his or her style and how they deliver the lines. We chase every word spoken on stage, and not only are we attempting to have the right mike on at the right moment but we are compensating for the type of delivery normally produced by the actors. Catching the first syllable of a line at the proper level can be tough, and it is also very important. If an actor normally accentuates a word, engineers will land the fader at a lower than normal position to keep it from being too loud. And for softer deliveries the fader will land higher so it can be understood. The problems begin when we are expecting a particular delivery and for one reason or another, the actor changes it. For example, we are expecting a strong, powerful line or word and we have the fader level set lower in preparation for this and the actor delivers it much softer than normal. There is a strong possibility that the audience will not understand the first part of that line. On the other side of the coin, when a line is normally delivered in a soft voice we land the mike level hotter to catch that first syllable. If the actor unexpectedly emphasizes that part, by the time the engineer and the audience peel themselves off the back wall of the theatre, they will have forgotten what the story was about. BE AWARE OF OTHER ACTORS' MIKES It needs to be emphasized that an actor's delivery is not only important for them and their personal mike but when they are close to another actor as well — now there are two mikes on the actor. If they are alternating lines, the engineer will chase the dialogue and keep it clean. If the two are in a conversation and they are required to respond on top of the other's lines while face to face, we enter a new problem of crosstalk. In this situation, actors not projecting their voice directly at the other's mike can be a big help. The engineer is required to make a split second decision on mixing the mikes together or using one or the other for both actors. Simply having an actor turn their head a couple of degrees can make the difference between a smooth, natural conversation or a choppy, “Oh yea, they are wearing mikes” amplified sound. BEWARE OF SURROUNDINGS ON STAGE Scenery, other actors, props, or anything else that has a reflection directly affects sound. If an actor is in close proximity to and simply facing a piece of scenery, it will give a reflection back to the mike. This reflection is then amplified just as the actor's voice is. The problem is that the reflection is delayed and, therefore, slightly out of time with the original source (the actor's direct voice). This reflection is audible and out of place among the direct sounds. To better understand this, take your hands and hold them side by side, palms facing you, and slightly cup them like a bowl. Start talking and move your hands closer to your mouth and then away. As you move them back and forth, you can hear the reflection when they are close to you. When there is a microphone on your forehead, this sound is amplified and accentuated in the house mix. It should be obvious that anything that makes noise will be picked up by the mikes. People talking, noisy lighting instruments, loud footsteps, and anything else that makes noise can interfere with the mix. Obviously, when the actor is on stage this cannot be avoided. But when they are off stage and still singing or delivering lines they need to be aware of themselves and their surroundings. They need to be aware the mike is on until the segment is complete. Keep in mind, this mike is attached to the actor's forehead. Why do actors think if they whisper no on will hear them? In turn, the people around them must be aware of the live mikes off stage. Casual conversation can become public knowledge very fast, if actors do not pay attention. REMEMBER TO AMPLIFY When theatre began there was no electronic sound reinforcement. An actor was required to project his or her voice to be heard by every seat in the house. They still used dynamics but even the softer portions had to be spoken with power. Theatres were designed with a more live, reflective sound and with proper projection from the actor, the room itself would carry the sound to the audience. Today we have different concerns now that we are using sound reinforcement. We still require projection from actors but obviously not as drastic as before. We run into one problem when actors remember they are amplified and get too quiet. For the most part we can turn up their mikes so they can be heard, but using all that extra gain causes problems of its own. The louder we make the mike, the more you hear surrounding noises like fans and motors on lighting fixtures, moving scenery, even the ambient noise of the room. And if the actor is close to a hard surface like a piece of scenery, this can create a tunnel sound. Every little change from the norm can create a distraction for the audience. And then we have the concern that, while reaching for this extra gain, we have created a potential for feedback through the system. We can only go so far before the sound gets unattractive. Actors need to realize that even with a multi-million dollar sound system, vocal projection is still the key. Keith Shuford can be found on the Web at www.AdvanceEntertainment.com. |
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