'White Noise' Musical

Jun 1, 2011 9:00 AM, By Sarah Benzuly


Education Guide

Mix is gearing up to present its longstanding annual Audio Education Guide in its November 2014 issue. Want to have your school listed in the directory, or do you need to update your current directory listing? Add an image, program description, or a logo to your listing! Get your school in the Mix Education Guide 2014.

New musical White Noise follows a top-selling music producer who, according to the show’s producers, “stirs up an explosive cocktail of shock and spin with a touch of controversy to package talented artists into blockbuster stars.” Sound designer Garth Helm and associate designer/programmer Brian Hsieh have packed an amazing amount of technology into what Helm likes to call “the biggest little show ever.”

A Midas PRO9 console is used for primary mixing duties, augmented by a backstage PRO3 for monitors, both supplied by Sound Associates Inc. “In the theater world, we’re very cue-based,” Hsieh says. “For White Noise, we have 100-plus scenes programmed into the PRO9. Almost every scene carries MIDI commands to at least seven devices, with links and follows. We’re able to take any number of the 24 wireless channels and put them on the VCAs needed for that scene. And every line is a fader move, and every scene changes the layout of the VCAs. We’re constantly on the VCAs.”

The biggest challenge for the audio team was designing a system that would handle the show’s huge I/O requirements. The production uses 88 input channels at FOH and 48 at monitors. On the output side, there are 35 individual mix outputs from FOH and 24 from monitors. A Klark-Teknik DN9696 high-resolution audio recorder captures the musical performances. “Our game plan is to create a live-performance soundtrack CD,” says Helm. “It’s a great recorder and integrates seamlessly into the Midas network. We’re capturing each input individually during the performances, and then we will take them to a recording studio to mix and edit.

“We’re using three Cat-5 cables to pass a total of 144 channels of audio back and forth between the front-of-house and monitor systems. The PRO3 is the source for all the monitor mixes, which include IEMs and wedge mixes for the band, plus various stage foldback speakers. Those mixes are static so there’s no need for an active monitor engineer for the show.”

Acceptable Use Policy
blog comments powered by Disqus

Mix Books

Modern Recording and Mixing

This 2-DVD set will show you how the best in the music industry set up a studio to make world-class records. Regardless of what gear you are using, the information you'll find here will allow you to take advantage of decades of expert knowledge. Order now $39.95

Mastering Cubase 4

Electronic Musician magazine and Thomson Course Technology PTR have joined forces again to create the second volume in their Personal Studio Series, Mastering Steinberg's Cubase(tm). Edited and produced by the staff of Electronic Musician, this special issue is not only a must-read for users of Cubase(tm) software, but it also delivers essential information for anyone recording/producing music in a personal-studio. Order now $12.95



Delivered straight to your inbox every other week, MixLine takes you straight into the studio, with new product announcements, industry news, upcoming events, recent recording/post projects and much more. Click here to read the latest edition; sign up here.

MixLine Live

Delivered straight to your inbox every other week, MixLine Live takes you on the road with today's hottest tours, new sound reinforcement professional products, recent installs, industry news and much more. Click here to read the latest edition; sign up here.

[an error occurred while processing this directive]

The Wire, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the The Wire for the latest press postings.