Swingin' Into Christmas 2012

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Swingin' Into Christmas 2012
Creative
Director Susie Dumbreck
Lighting Designer Grant Anderson
Sound Engineer Blair Omond
Stats
Venue Stevenson Concert Hall
Performance Dates 12th - 14th December 2012

Crew

Stage Manager - Samantha Burt


Technical Stage Manager - Jennifer Howes

Deputy Technical Stage Manager - Melissa MacDonald


Production Electrician - Ben Terry

Lighting Operator - Sean Hind

"This show was challenging! It was completely different from operating a conventional theatre show. The design was obviously more extravagant as it was a proper musical show. There were 170 cues or thereabouts. We only had one rehearsal before the opening night so I really had to be on the ball. The cues were quite snappy and in time with the music... there were a lot of buttons. I got better and better and by the last show I made 0 mistakes. I was pretty chuffed becasue it was relatively difficult to operate compared to other shows I've done. Working on Swingin' is always fun. It's a good show to end the year on".

We used an ETC Gio Console for this show.


Stage Electricians - Adam McCall, James Gow


Sound No 1 - Blair Omond

Sound No 2 - Sam Cunningham


Production Arts & Design Crew - Victoria Blackaby, Carolyn Clark, Clara Fink, Connor Gallagher, Robert Gear, Iona Gray, Carola Gudim, Lauren Keanie, Zoe Kemp, Kenneth MacLeod, Evonne MacRitchie, Kerry McAreavey, Jade McNaughton, Nathalie Page, Sophie Prior, Kirstin Rodger, Lisa Speirs

Groundplan

Swinging2012 groundplan2.jpg


Left

Sound

Sound No.1 - Blair Omond

Sound No.2 - Sam Cunningham


Sound Department Kit List

Control Kit

- Yamaha LS9 (32 Channel)
- Yamaha SB168 - ES Stage Box (SR Edge of Rostra)
- Macbook Pro with USB to XLR Sound Card for CD Playback - Pre, Interval and Post Show Music

Speakers and Amps

- 4x d&b Ci 60 Mid Tops - Permanent Venue Rig
- 4x d&b E3 Fills - Permanent Venue Rig
- 2x d&b C7 Subs - Permanent Venue Rig (1x Stage Left and 1x Stage Right)
- 4x d&b Max 15 Wedges (2x Centre Stage (Paired), 1x Stage Left and 1x Stage Right (Paired)
- 2x d&b M4 Wedges (1x Centre Stage Left on Rostra, 1x Stage Right Rostra)
- 8x d&b E-PAC 2 Power Amps - Permanent Venue Hard Wired System
- 1x d&b D12 Power Amp - Permanent Venue Hard Wired System
- 1x d&b D6 Power Amp - SR Edge of Rostra, Powered 2x M4 Wedges
- 2x Crown K2 Amps - SR Edge of Rostra, Powered 2x Max 15 Wedges Left and 2x Max 15 Wedges Right

Radio Microphones

- 6x Shure UR1M Packs
- 11x Shure UR1 Packs
- 16x DPA 4066 Pink Headsets
- 1x DPA 4066 Black Headset
- 6x Shure UR2 Handhelds (Beta 87 Capsules)
- 12x Shure UR4D Dual Receivers

Microphones / DI Boxes

- 3x DI Boxes (Double Bass / Electric Bass, On Stage Electro Acoustic Guitar, On Stage Double Bass)
- 6x AKG SE 300's (Piano Low, Piano High, Brass Left, Brass Right, Kit Overhead Left, Kit Overhead Right)
- 2x Shure Beta 57's (Percussion Left and Percussion Right)
- 1x Sennheiser E906 (Guitar Amp)
- 1x Shure Beta 87 (Piano Vocals)
- 1x Shure Beta 52A (Kick Drum)
- 3x Sennheiser E604's (Rack, Floor Tom, Snare Top)
- 2x Shure SM57's (Snare Bottom, High Hat)

Microphone Stands / Cabling

- 11x Boom Mic Stands
- 2x Short Mic Stands
- 6x Round Base Mic Stands
- 6x 1/4" Jack Cables
- 6x 3M XLR Cables
- 16x 5M XLR Cables
- 10x 10M XLR Cables

Band

RCS Big Band and MT MA Musical Directors

- Grand Piano
- Drum Kit
- Bass Guitar
- Double Bass
- Acoustic Guitar
- Electric Guitar
- Percussion Section
- Brass Section

Plotting and Operating

As this was more of a live and fluid show I only semi plotted scenes into the desk for this show. I plotted loose scenes which chnaged between numbers and performers but when it came to individual levels for performers and solo changes throughout numbers I did this all manually and mixed it all continuously as I went.

Sound Challenges

With the concert hall being an acoustically designed venue, putting amplification of this scale in this venue is a particular challenge. Ringing out frequencies was quite a challenge on this show as we found after ringing out and removing frequences for radio mics we found that we had almost entirely removed the whole middle end of the frequency band. Something we obviously couldn't have as it's the most important part of the band. We had to just try our best and ride the levels very carefully on the system.