John McAdie: Difference between revisions
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The first production which I could work on my specialism, which is Sound, was [[Inner Space 2014]] during which I was mixing a five piece band on the Yamaha LS9 mixing console, my first experience on a digital mixer. | The first production which I could work on my specialism, which is Sound, was [[Inner Space 2014]] during which I was mixing a five piece band on the Yamaha LS9 mixing console, my first experience on a digital mixer. | ||
Following the winter break of 2013/14 my spring allocation was changed from ASM to shadow sound technician for the BA Musical Theatre 3rd year production of [[Legally Blonde]] which gained critical acclaim from the entertainment industry professionals of all fields. I overheard a conversation that this production was so well produced that audiences would even be prepared to pay West End ticket prices for this show. | Following the winter break of 2013/14 my spring allocation was changed half way through from ASM to shadow sound technician for the BA Musical Theatre 3rd year production of [[Legally Blonde]] which gained critical acclaim from the entertainment industry professionals of all fields. I overheard a conversation that this production was so well produced that audiences would even be prepared to pay West End ticket prices for this show. | ||
Sam Cunningham, the Head of Sound for Legally Blonde, performed his role with perfection. As well as undertaking his own tasks of operating sound, he found the time to explain in general terms the workings of the Midas Pro 6 sound desk. As a mature student of 45 years old I was absolutely gob smacked at the level of sheer professionalism from everyone involved. It both excited me and humbled me to be able as a physically challenged adult, but at the same time an equally able individual, to be part of such a high standard of production excellence. | Sam Cunningham, the Head of Sound for Legally Blonde, performed his role with perfection. As well as undertaking his own tasks of operating sound, he found the time to explain in general terms the workings of the Midas Pro 6 sound desk. As a mature student of 45 years old I was absolutely gob smacked at the level of sheer professionalism from everyone involved. It both excited me and humbled me to be able as a physically challenged adult, but at the same time an equally able individual, to be part of such a high standard of production excellence. | ||
After the spring break I had my production allocation changed again from the automation operator for the opera in the new athenaeum theatre to Sound No 2 for the MA Musical Theatre 3rd year [[Candid Cabaret]] held in Sloan's Bar, Argyle St. Glasgow. | After the spring break I had my production allocation changed again from the automation operator for the opera in the new athenaeum theatre to Sound No 2 for the MA Musical Theatre 3rd year [[Candid Cabaret]] held in Sloan's Bar, Argyle St. Glasgow. | ||
Revision as of 11:37, 6 October 2014
I studied at
Royal Conservatoire of Scotland
My first TSM allocation show was Betty Blue Eyes
This is me looking my best
The first production which I could work on my specialism, which is Sound, was Inner Space 2014 during which I was mixing a five piece band on the Yamaha LS9 mixing console, my first experience on a digital mixer.
Following the winter break of 2013/14 my spring allocation was changed half way through from ASM to shadow sound technician for the BA Musical Theatre 3rd year production of Legally Blonde which gained critical acclaim from the entertainment industry professionals of all fields. I overheard a conversation that this production was so well produced that audiences would even be prepared to pay West End ticket prices for this show.
Sam Cunningham, the Head of Sound for Legally Blonde, performed his role with perfection. As well as undertaking his own tasks of operating sound, he found the time to explain in general terms the workings of the Midas Pro 6 sound desk. As a mature student of 45 years old I was absolutely gob smacked at the level of sheer professionalism from everyone involved. It both excited me and humbled me to be able as a physically challenged adult, but at the same time an equally able individual, to be part of such a high standard of production excellence.
After the spring break I had my production allocation changed again from the automation operator for the opera in the new athenaeum theatre to Sound No 2 for the MA Musical Theatre 3rd year Candid Cabaret held in Sloan's Bar, Argyle St. Glasgow.