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<blockquote data-quote="brian maddox" data-source="post: 31137" data-attributes="member: 158">Re: My festival strategiesi think jay hits a really important nail on the head here.&nbsp; festival mixing is about speed, and then, if you&#039;re lucky, precision.&nbsp; dive in, get it close and listenable fast, and then take the time if you have the luxury to make it sound great.i used to do an outdoor orchestra show series every summer.&nbsp; picture band shell with giant scaff towers left and right.&nbsp; pa had to cover 10 - 15 thousand people without delays, so close miking was the only option.&nbsp; most shows i had at least 60 inputs.&nbsp; for some i had over 70.&nbsp; used a PM4000 and a sidecar.&nbsp; and since it was hot and the orchestra was union, there was NO sound check.&nbsp; we line checked it all, and at showtime i had to dial in a 70+ input mix in front of a few thousand people.&nbsp; in that situation you learn to work quickly, get it close in 2-3 minutes max, and then spend another 5-10 dialing it in.&nbsp; after that, since it was an orchestra, i let the conductor do the mixing and i just sat back and listened along with everyone else.&nbsp; some of the best experience i ever had.&nbsp; makes doing festival work with bands seem like child&#039;s play...&nbsp; <img src="https://cdn.jsdelivr.net/joypixels/assets/8.0/png/unicode/64/1f642.png" class="smilie smilie--emoji" loading="lazy" width="64" height="64" alt=":)" title="Smile&nbsp; &nbsp; :)"&nbsp; data-smilie="1"data-shortname=":)" /></blockquote>

[QUOTE="brian maddox, post: 31137, member: 158"] Re: My festival strategies i think jay hits a really important nail on the head here. festival mixing is about speed, and then, if you're lucky, precision. dive in, get it close and listenable fast, and then take the time if you have the luxury to make it sound great. i used to do an outdoor orchestra show series every summer. picture band shell with giant scaff towers left and right. pa had to cover 10 - 15 thousand people without delays, so close miking was the only option. most shows i had at least 60 inputs. for some i had over 70. used a PM4000 and a sidecar. and since it was hot and the orchestra was union, there was NO sound check. we line checked it all, and at showtime i had to dial in a 70+ input mix in front of a few thousand people. in that situation you learn to work quickly, get it close in 2-3 minutes max, and then spend another 5-10 dialing it in. after that, since it was an orchestra, i let the conductor do the mixing and i just sat back and listened along with everyone else. some of the best experience i ever had. makes doing festival work with bands seem like child's play... :) [/QUOTE]

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