Process

This Project was a big step into production, bringing in a handful of new elements into fruition with a short timeline. The project created an awesome day and experience for all that were there, with the ability to share it live across social media, broadcasting the talent of not only the bands, but the class with the ability to work and create the environment for the day, mixing for the live audience, broadcast and vision switching for the broadcast.

Over the weeks leading up to the live show day, we slowly worked on plans and collecting information to complete each little element we could to bring the project together,whether that be through online research, class discussions, or deliberate practice. We have gone over multiple elements in class refining the process around elements of the live sound procedure, from power up sequence, to ringing out foldbacks, soundchecking instruments, to setting up multiple sends and recordings.

Staging was put together we a plan of dimensions and positioning in the Cafe area of SAE Byron Bay, however with this idea a few elements were not discussed or mentioned with the planning. The 1.2 x 2.4m staging volumes were connected to create a 2.4 x 3.6m staging area, these were connected with clamps around the legs which were cut to cut the legs with a faceplate, bolt and wingnut. We then added a 1.2 x 2.4m volume in front of this combined 2.4 x 3.6m volume (rendered drawing above). We did unfortunately run into 2 issues with this.

• The front staging volume was not secured to the rear volume, and could create a hazard when performing moving from volume to volume. The solution to this hazard was to connect the stages with spring tensioned clips that used bolt and wing nut to fasten together, allowing each volume to connect from the framing underneath.

• The gap between the rear volume and the rear of the FOH array created a possible area for someone to fall or any injury. This was intended to be filled with other stage volumes to create a Foldback area, however the gap we had was 600mm long and 250mm wide, and the staging volumes we had were 900mm by 200mm. This is something that we should have looked over in the planning and design of the stage but did not. The solution was to use this space for the foldbacks, allowing us to implement blocks with black cloth over them that we then placed the foldbacks on top of, allowing more stage space, and also blocking this hole from injury or anyone attempting to access the stage through it.

For broadcasting we did have some slight issues regarding access to power, hdmi length for cameras, ethernet access, audio input level, and broadcasting orientation.

• Power came as a bit of a hard and weird situation, as most of the power for the stage and elements were coming from the foyer, we had to make sure we were on a different circuit just incase, we could have done load calculations but we chose to play it even safer. Also with moving around for ethernet and hdmi cable length meant power became further away in some scenarios/ positions.

• HDMI length was a big issue with the broadcasting, providing we wanted a wide shot and multiple action shots as well. However we did have to compromise on the angle and positioning of these shots due to cable length. The idea was to have a wide show, and a close up from each side of the stage for different elements. However we had to put the 2 close up cameras on one side of the stage.

• Ethernet access, or cabling was a big barrier that had to be overcome, with multiple ports and cables being accessible but either not functioning (cables oir ports) or cables not being long enough to get from an active port to the desired positioning of the broadcasting station. This resulted in problem solving and a big of back and forth between Calvin, Jan, and myself testing connections and areas to find a feasible option.

• At the start of the broadcast we were still attempting to correct the input level into the stream, leaving a slight bit of peaking in the first song for eyesite, however we managed to get it under control rather swiftly over that song.

• Broadcasting orientation became an issue with multiple outputs and third party custom rtmp servers, however it was possible. The only issue was the screen orientation for instagrams 9x16 story format streaming which is portrait opposed to other streaming platforms such as facebook, youtube and twitch, which all broadcast in landscape formats, meaning that instagram compressed its delivered image to suit 9x16 and zoomed in on the footage, which was hard for Eyesite with a 4 piece band and larger space, however we were able to learn and fix it for Ben Jasnz' performance.

The project was a great success allowing the team, musicians, and SAE to showcase their skills, ability and knowledge to execute this production. We used all information and feedback from this project to provide a greater project for our 2nd live show this trimester.

Process

This project presented a problem of using 2 consoles with split control for FOH and Foldback control. This idea started in week 8 and was deciphered across 6 hours of excruciating problem solving. It was also documented to be shared with the whole class. It was also presented that this project as going to be completed on the open day in week 11 not the exhibition in week 13. This meant that we had a shortened pre-production period, however we had taken into consideration the hurdles and feedback from project 1 for a better project 2.

In week 9 and 10 leading up to the project, we set up the system and went over the communications and processes for the system to operate and what could be done from one console and not the other, and what was working on each console for different elements on the day of production.

Week 11 presented a new challenge in the morning of set up, which was passive speakers and amplifiers. In a way it wasn't too hard or difficult, it just consisted of parameters that were to be followed. As such we discussed Ohm's law and calculating ohms with source vs load for the 4 Ohm power amplifier and 2 8 Ohm passive speakers. Originally we were going to run them in parallel, creating an overall load of 4 Ohms with the source of 4 Ohms. However due to cable and connecter issues between speaker 1 and 2, we were left to run the 2 speakers in series. Meaning that we had a source ohm less than the load ohm, which is inefficient, but safe. With this the speakers would not perform at 100% efficiency, however they were still loud enough with respective gain and send level to deliver a clear level for performers on stage.

We began working on the staging and placement of elements. We started with a 3.6m x 2.4m stage, however it did not fill the tent or feel big enough. So we expanded to a 4.8m x 4.8m stage. This allowed us produced a more spread out stage format with an altered stage plan that originally thought, which allowed more space on stage. Every member worked to get their hands on each console, the Behringer X32 Producer for Foldbacks and Behringer X32 for FOH.

If we were to perform this project again, there would be a few elements that I would change if possible.

• Due to the placement of the stage marquee and the direct line of site from the cafe, we were asked to move the FOH marquee offset to the prompt side of the stage (right of the stage - FOH console perspective). Ideally we would have loved to be centered to the stage and inline with the FOH trajectory

• Originally, we were focused on stage sound with ringing out foldbacks and getting input levels set, which lead to the ipad and router to be on stage for that purpose. This combined with the offset placement of the FOH console makes me wish we altered the set up. I would placed the router and iPad at the FOH console, providing we could mix the FOH sound from the cafe area or close to, which would have provided a better mix rather than going back and forth from the console to the cafe and cafe lawn.

Overall, this project was all based on problem solving, teamwork and communication. I believe all members of the team were able to contribute well to the production, pre and post included. This was done by members taking lead on elements such as power, patching, equipment, staging and stage design/arrangement. Communication was also important, especially with the start of each act, getting levels set and adjusted for the style of performance and playing styles of talent. I wish we could have had larger talent pieces with a large number of inputs, however the day was still fun and enjoyable as a team with sharing information, ideas, thoughts and constructive criticism to help each other grow our skills and knowledge.

Reflection

This trimester has handed out personal development tasks left, right and center. This has led to feedback on personal skills and allowed individual growth and growth as a cohesive team within the course. I have learnt to discuss issues more thoroughly with the class to become enlightened on all possible solutions and thoughts the team has, as well as looking at problems and tasks on different levels of detail. This Studio unit within the degree really works on the team work, independence and communication all at once, providing in class work, personal research and peer teaching between members in class. It is important to provide and be accepting of feedback and constructive criticism for your development within the course and as an individual within the industry. My growth from this trimester has allowed me to step forward with the planning and development of my major project and will allow me to communicate and strive with the remainder of my studies with multiple works and production elements.