Vir Gupta

FOH Sound Mix Engineer/A1

Sound For Musical Theatre

Sound for Musical Theatre can be simply explained as making sure the orchestra and performers are audible and clearly understood by the audience. Additionally, the sound heard must always be mixed in accordance to the sound designer and director's vision. This involves the management of the EQ and levels of each of the microphones and speakers. Numerous live microphones along with specific and particular signal routing makes attention to detail vital to musical theatre. Moreover, although it was the same show, each performance was never the exact same as a previous one. And, the innumerable technical elements of each production only added to the complexity and heightened the probability of something going wrong.

A1 - Role Description

Ediyted Live Sound Mixing.mp4

The above video showcases a snippet of live mixing from a performance of the show.

The A1, which stands for Audio 1, serves as the person responsible for the live sound mixing of the show. He/she works under the sound designer to execute their design and then mix the show when it's up and running on a per-show basis. For She Loves Me, this meant undertaking the line mixing of each of the 20 different microphones we had per show. In other words, an A1 is tasked with making a show sound balanced and pleasing to the audience. By blending multiple sound sources that included the live orchestra of 20 members and all the characters on stage I was meant to ensure that a consistent mix was delivered every performance. This was made possible with a Behringer X-32 mixing console paired and programmed with a set of Scene DCAs and presets on the X-32 Controller and Edit software.

Paper Work

she loves me marked script-pages-35-38,57-60,120-126.pdf

Annotated Script

Above, is a sample of my marked script. My notes instructed me on several preset levels as well as mic numbers on the specified DCA set.

A1 - Pre_Post Show Check List - She Loves Me.pdf

A1-Pre/Post-Show Check List

The above document is a written list is the series of steps I followed before and after each show. This document shows a step-by-step making it easy for anyone to complete these steps if I was unavailable.

DCA Tracking Sheet_She Loves Me.xlsx

DCA Tracking Sheet

Above, is paperwork that was created using the scene break down, and its content was programmed in the X32 Theatre Control software that was patched to the board. This allowed me to switch between DCA scenes which permitted me to control several microphones and groups simultaneously.

Vir Gupta_Scene breakdown.xlsx

Scene Breakdown

The above document was created to enable me to prepare the DCA tracking sheet. This file illustrates the characters involved in each scene as well what scenes are bundled under a certain DCA Scene Set number.

Scene List_She Loves Me_Vir Gupta.xlsx

Scene List

On the left is a basic scene list I constructed in reference to the table of contents from the script. This gave me a key understanding of what the songs were and which characters were present on stage for the desired book scene and song.

Challenges

Through the run of seven shows I encountered a range of challenges and difficulties. As this being my first experience as an A1 I was constantly learning more about my job while working. Since I was live line mixing I had to ensure to not miss out on anything said by a performer. Also, the presence of several book scenes along with over 25 songs added to the difficulty of the mix.

We also faced an array of technical problems that occurred during performances. For instance, one night in the middle of an important book scene, Maraczek's microphone suddenly began picking up a lot of feedback. Consequently, I was forced to mix Maraczek's character in a manner where his voice would need to be picked up by the microphones of characters standing nearest to him. After the scene, this issue was communicated to the A2. And, Maraczek was given the spare microphone. I consequently had to patch the spare mic to the original Maraczek channel.

Additionally, each performance was never the same as the previous one. In other words, a performer's projection and delivery sometimes varied on a daily basis. And, I was tasked with making sure that each performance would sound as similar and consistent for every run.

Furthermore, working through a pandemic gave us it's own challenges related to mic safety. And, the limited rehearsal time of just three performances with the full band prior to opening reduced the opportunity to practice and execute a perfect mix. Moreover, without any previews, the presence of a large audience significantly altered the mix to what it sounded during the dress rehearsals.

Learnings

Over the course of this process I learned how to successfully live mix a musical. This meant I had to stay focused on the performers for the entire show. And, using my copious notes I would mix the show accordingly.

Additionally, I became better at spontaneously and effectively responding to real time problems. For example, whenever a mic stopped working or there was feedback, I was forced to find an immediate solution. This involved being able to communicate with my team effectively. Through this process, the sound team strived to accomplish and execute the designer's goal.

Overall, it made me better at working with individuals in a team, and learning how to communicate with other people involved. Most importantly, I learnt a lot about how a musical is sound designed and the several factors and elements are that go into producing a successful show every day.

About Me

Hi!

I am Vir Gupta, a freshman at Wake Forest University, from Bengaluru, India. Over the last year, I've worked on Men On Boats as Assistant Sound Designer and John Proctor Is The Villain as Lead Sound Designer. Additionally, I sound designed the Anthony Aston Players' Haunted Trails and Laugh Tracks.

Furthermore, I've done theatre from Grade 1 all through Grade 12. Over this time, I participated in an array of shows that ranged from devised performances to adaptations of classics like Accidental Death Of An Anarchist. I also worked on a few independent productions that were done in collaboration with the Silver Surfers Club.