How were you and the console coping with such complexity?
We are constantly pushing ourselves to work both “well” and “accurately”, and to get the balance in between right. Urinetown is a complex production, quite high in my ranking of demand. We were running around 120 scenes. Few cues were sync’d and running automatically, but we triggered everything manually, including the majority of sound effects. We used lots of DCAs, lots of automation, and the RIVAGE PM10 did it all well and reliably.
Mixing a musical is vastly different from mixing a band at a concert. It’s like flying a helicopter without an autopilot, whereby one must hold on to the controls. It requires constant “line-chasing” and mixing even during dialogues as the use of multiple microphones leads to phase cancellation.
There was a scene where cast members were thrown off stage onto a crash mat, and we had to mute their mics and trigger a playback of their recorded screams concurrently, without any noticeable difference. Especially during the finale, when it went from storytelling to singing, followed by chorus movement, dancing and, subsequently, back to storytelling with polyphonic singing on top, while mixing the band and highlighting solos, and so on – the most lively scenes with pretty much everything happening. This is where automation comes in and it’s good to have a RIVAGE PM10.