'Diaries from the Annexe'

Planning

I spoke with the group and asked:

What will the seating layout be?

How long is the show?

How many head mics are needed?

Semi-circle of chairs on floor

45 minutes

What is the style/aesthetic of the show in consideration of lighting?

Any extra technical requirements?

Contemporary

Projection Screen - Videos will require audio
Floor LEDs
Sound Effects - Potentially simultaneous with a track

Considerations this information creates are:

Problem

Play video audio simulatenously from sound laptop OR connect media laptop into another channel of the desk

Solution

Connect media laptop into another channel of desk, as although it is more setup, it means less complicated operation in the show, and with a 24 channel desk and only 4 mics there are no shortage of available channels.

Problem

Edit sound effects into the track OR use QLab software that allows multiple sounds to be cued over each other

Solution

As they lacked confidence on this idea, using QLab will be better as it allows easier changes on timings or much simpler removal if they decide against it.

Problem

Where can I safely position floor LEDs without creating health and safety risks?

Solution

Problem

SHOW DAY

21st May

The first task of the morning was setting up the projection screen, however once we tested it with the projections used in the show, the tutors and I decided it was incredibly distracting having the actual screen up and took away from the performance, so we tried projecting against the black curtain at the back of the stage and found it very effective, particularly with a 1940s aesthetic.

Due to a lack of availability of technicians, I was the only technician operating which led to me operating live sound for the first time, while also having the responsibility of setting up ChamSys and QLab in a simple enough way for a tutor to operate.

SOUND

My next task was to set up a PA system, as well as a side-fill speaker for the performers on stage, ensuring that the output was from a separate mix that included only the track and no head mics, to reduce the chance of feedback.
As decided in my problem solving (seen above), I created two separate stereo inputs for the media and sound by using the desks 'Link' function (seen to the right). I also set up QLab for the backing tracks and was able to add fade-outs within the software as I had seen used and used myself respectively at Theatre by the Lake and Theatre Royal.

Next, I set up the head mic receiver and 4 head mics, as planned from my discussion with the group. I did a ring out on the PA using the desks 'Fader Flip' to get the most precise frequency reductions to reduce the risk of feedback without overly sacrificing the audio quality. I initially attempted to use group sends to apply the ring out only across the head mics and keep the backing tracks to the best quality. However, I changed this during the mic check, as while I set gain, compression and high pass filters for each performer to get a clean and clear signal from them all, I found a lot of issues with buzzing in speakers and mics. I decided to scrap the group sends and keep the setup as simple as possible to make the problem solving process quicker as I worked through the signal path, and I was happy enough making this decision as the rung out EQ wasn't overly harsh so wouldn't negatively affect the quality of the track too much.

I worked down the chain, switching headsets, mic packs, adjusting receivers, and swapping speakers from V3s to V2s, a change which did reduce the white noise of the speakers, however while the fuzz in the mics had reduced it was still prominent. Another mic issue presented itself in the tech run, with packs losing connection to the receiver, an issue I have been told previously should not happen in such a small theatre. All I could do was set the antenna on the receiver as direct to the stage as possible, and ensure performers weren't burying the antenna on their packs in their costume.

My last thought for the possible cause of these issues was the receivers being racked in a metal box affecting the signal and quality, as this was a potential cause mentioned by visiting technicians when we had issues on a previous production but with different head mics and receivers. This was not something I had time to explore on the current timescale, however something to bare in mind for the upcoming shows.

LIGHTING

Throughout the tech run, I was essentially dual operating sound and lights so I could make adjustments to the lights through both my own opinion and suggestions of the group and tutors throughout. Most changes were just cutting the washes down to a smaller area to create a more intimate feel on the stage. As this was a contemporary piece, nothing overly dramatic would be suitable however I was still able to use colour and effects to create nice highlighting for dances, some dramatic and effective silhouettes, and compliment the dynamics of the performance.

Lighting came with its own issues, as the intelligent moving fixtures kept spontaneously losing light, but maintaining movement. They can be reset by turning the power off and on for the lighting rig, however this is a temporary fix to a persistent issue. Before the show, I switched any XLRs in the chain to DMX cables that have a higher impedance so are much better prepared to carry the signal for intelligent fixtures. I also put a stopper at the end of the chain, which stops the signal reflecting and causing interference. One moving head had a regular use as a spotlight on the downstage right desk, so as a backup in case these solutions didn't work, I recorded a different head directed at the downstage right onto a separate so it could be manually applied should the other fail.

FINAL SHOW

During the show both moving heads failed. As there was no interval, there was no chance to reset the power so there was nothing to be done but accepting it, focusing on the show and starting to think of other potential solutions afterwards.

There were no other lighting issues, and the sound had less quality issues than previous runs, but more connection issues. Much like the moving heads, there was nothing more I could do from my position beyond working with what signal I could get. Luckily, the mics remained on during songs so I could create a good mix on the harmonies and apply reverb. I did attempt to use them in scenes however once one disconnected, I took the quick decision to mute them all to keep everything at one level, and as it was just acting sections with no music it remained perfectly audible to the audience.

'Diaries From The Annexe' - Full Show

Final EvAluation

This show proved to be a difficult day, bringing with it a lot of challenges, and I think I faced these the best I could have relative to my knowledge, experience and available time. With these challenges came a lot of problem solving, something I had previously identified as a strength and this was truly tested. I managed to come up with a variety of solutions for each problem and applied as many as I could within the time frame. Unfortunately, it is just that there seemed to be no easy fix, as the specific problem was not obvious across both lighting and sound, only the symptom of it. It is more than likely these same problems will remain ongoing issues into the next shows, so to improve I will go beyond my own knowledge and experience by asking our technician, my tutor, or even other students who will have different knowledge and experience to me, as well as simply having a fresh set of eyes and perspective on the issues to help think of some more potential solutions.
Despite providing challenges, this show also provided me with the opportunity to operate sound for the first time. I found I felt quite comfortable in this role relatively quickly, which further proves my identification of adaptability as a strength in my SWOT analysis. Now that I have begun to build confidence and experience in this role, I can take it forward and develop it in order to broaden my skillset as a technician in college shows and beyond into a career.
I was also able to demonstrate another of my previously identified strengths, showing reliability as well as additionally independence, as I set up everything across lighting and sound entirely by myself, and did so efficiently enough that everything was ready within a comfortable time and did not impact the groups planned schedule, even with the various issues.
On reflection, I am impressed I was able to pull off the show so independently and believe the final result was still to a good standard despite the challenges. Feedback from two members of the group I worked with agrees with this, with both giving me 5/5 for satisfaction with the final result, and answering 'Yes' when asked if they would consider me in the future for other projects after this. I think this standard was achieved as both throughout the day and during the show, as these issues were arising I was able to stay calm under pressure, and be proactive and reactive in dealing with them, which are behaviours I need to maintain moving forward if these issues are going to continue into the upcoming shows.