I rotated over all roles in the team workflow, including:

• Audio technician: Setting up and tearing down microphones, wiring XLR cables, I/O documentation

• Recording engineer: Monitoring Pro Tools sessions and preamp

• Student music director: Communicating with the musicians during rehearsal and recording, collecting musician information

• Post-production: Setting up the Pro Tools sessions for Dolby Atmos, rough mixing

By observing and emulating great audio engineers such as David Bowles and Gregor Zielinsky, I benefited not only from their empirical wisdom accumulated from years of working on the scene, but also their proven methodology of proposing and testing new systems: how to base a seemingly wild idea on logical reasoning and what acoustic characteristics to examine when comparing a new setup with existing systems. 

As the program focused predominantly on classical and world music, I could rely on my previous experiences as a choir singer and a touring assistant when interacting with the performers and introducing them to the technology used during the sessions.

Stereo:

A/B, X/Y, M/S, Blumlein (+Z axis fig-8), NOS, ORTF

Multichannel:

• Omni square

• Hamasaki square

• OCT

• Decca tree

• Fukata tree

• Hyper-cardioid square (height layer)

• FOA microphone array (Sennheiser AMBEO, RØDE NT-SF 1)