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[Jason Glass]

Broadcast Mix Engineer, Network Distribution Audio Engineer, or Nashville affiliate Station Engineer:

Please, for the the love of all that is holy, BACK OFF THE MIX BUS LIMITER INPUT!  The noise floor is as high as the dialogue, is audible during CHORAL performance, sounds like pink noise crosstalk, and is ruining what is otherwise an absolutely spectacular performance.

Every scene, no matter which characters are performing.  It's not a wireless problem and it's not a faulty input.

[g'bye, Dick Rees]

Broadcast Mix Engineer, Network Distribution Audio Engineer, or Nashville affiliate Station Engineer:

Please, for the the love of all that is holy, BACK OFF THE MIX BUS LIMITER INPUT!  The noise floor is as high as the dialogue, is audible during CHORAL performance, sounds like pink noise crosstalk, and is ruining what is otherwise an absolutely spectacular performance.

Every scene, no matter which characters are performing.  It's not a wireless problem and it's not a faulty input.

Sounds fine here.  Broadcast TV, no cable, no satellite.

[Jason Glass]

Sounds fine here.  Broadcast TV, no cable, no satellite.

Hmmm, I'm on DirecTV and listening to Dolby Digital.  It's really, really bad.  We can hear it breathing with the limiting for the last two and a half hours.  At every commercial break I've hoped they would fix it.

[Cameron Stuckey]

Jason I hear it too. Comcast HD feed to a pair of MM4s. But I guess that's what area mics in a warehouse in Long Island sound like.

[Jason Glass]

Jason I hear it too. Comcast HD feed to a pair of MM4s. But I guess that's what area mics in a warehouse in Long Island sound like.

Haha! Point taken.  But, did you notice that they had seven RF techs listed in the credits?  When you consider that every performer was surely mic'd, they did an awesome job of hiding the capsules.

BTW, was that your guys doing the gig?

[Cameron Stuckey]

Haha! Point taken.  But, did you notice that they had seven RF techs listed in the credits?  When you consider that every performer was probably mic'd, they did an awesome job of hiding the capsules.

They did an amazing job, no question. I saw the occasional wire and didn't see a capsule until Audra turned upstage and it poked out by her ear. Gain before feedback wasn't an issue so they could pull those capsules back farther than they could for a stage production. I'm friends and acquaintances with a few of them but they've been under media black-out so I hope to hear and see what they did soon. There certainly hasn't been anything like this in my lifetime, but I'm a greenhorn.

EDIT: Wasn't us, Jason. I would have loved in be part of the team that got to sink its teeth into that production. Lots of Broadway and NY industrial people on that crew.

[Mac Kerr]

I'm friends and acquaintances with a few of them but they've been under media black-out so I hope to hear and see what they did soon. There certainly hasn't been anything like this in my lifetime, but I'm a greenhorn.

I'm working with Matt Krause on Monday, I intend to grill him about the production.

Mac

[brian maddox]

Doing this show live is incredibly ballsy. And yet few watching will understand why. It's not the performances. The talent can do this this all day and night. But the challenges of making the tech work is the real story that few will know or appreciate

Amazing, professional job.  I'm truly impressed.

[Cameron Stuckey]

I'm working with Matt Krause on Monday, I intend to grill him about the production.

Mac

Could you convince him to post on the forums? I'm probably going to see Charles and Els by the end of the year but that's not soon enough!

[Tim McCulloch]

So I guess I missed the boat on this.... I should have not turned off the near-continuous Mandela coverage.

Bah, humbug.  Will there be a re-broadcast?

[ProSoundWeb Community]