9 to 5: Difference between revisions
No edit summary |
SMacluskie (talk | contribs) No edit summary |
||
| (2 intermediate revisions by 2 users not shown) | |||
| Line 1: | Line 1: | ||
[[Category: Productions]] | [[Category: Productions]] | ||
[[Category: | [[Category: AGOS]] | ||
[[Category: Musical Theatre]] | [[Category: Musical Theatre]] | ||
| Line 44: | Line 44: | ||
|- | |- | ||
|'''Technical Stage Manager''' | |'''Technical Stage Manager''' | ||
|[[Kyle | |[[Kyle Jessiman]] | ||
|- | |- | ||
|'''Chief Production Electrician''' | |'''Chief Production Electrician''' | ||
| Line 75: | Line 75: | ||
==Sound== | ==Sound== | ||
===PSE/Dep. PSE=== | |||
Working in a venue like the AGOS was difficult, due to it's many unique challenges that you don't normally face. This made running power, XLR, comms, cue lights and even BNC very difficult meaning you had to do it all in a creative and practical way. In the end, a lot of the came down to planning and then working on top of what we knew. | |||
Our use of stageboxes became very helpful, in the same way that our use of 13a Distros became helpful when we realized we needed more power for different things. | |||
One of our technical challenges was running power, speakers, and microphones up to the balcony of the AGOS. This meant dropping the lines down to the floor in order to run them into a stage box or our SD Rack. This also meant running lines up the amp we had there in order to provide foldback to those performing on the balcony. The main thing for us was making it as tidy as possible, and safe for all of those who would be up there. | |||
===Sound Design=== | ===Sound Design=== | ||
Latest revision as of 19:46, 3 March 2022
| 9 to 5 | ||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
 | ||||||||||||||||||||||||||||||||
| ||||||||||||||||||||||||||||||||
Technical Stage Management
Stage Management
Props Table
Props
Electrics
Sound
PSE/Dep. PSE
Working in a venue like the AGOS was difficult, due to it's many unique challenges that you don't normally face. This made running power, XLR, comms, cue lights and even BNC very difficult meaning you had to do it all in a creative and practical way. In the end, a lot of the came down to planning and then working on top of what we knew.
Our use of stageboxes became very helpful, in the same way that our use of 13a Distros became helpful when we realized we needed more power for different things.
One of our technical challenges was running power, speakers, and microphones up to the balcony of the AGOS. This meant dropping the lines down to the floor in order to run them into a stage box or our SD Rack. This also meant running lines up the amp we had there in order to provide foldback to those performing on the balcony. The main thing for us was making it as tidy as possible, and safe for all of those who would be up there.