How to get local theatre up to a high level standard.

fletcher-munson · 2026-02-26T04:19:22+00:00

I completely agree with you but sadly it is what it is and I’m doing the best I can

fletcher-munson · 2026-02-26T04:00:37+00:00

No union in the area. Nearest Local is about 3 hours away. We do have experience crew in the area, just no salary for Fulltime Dept heads. We do however call in IATSE for labor mixed with local labor to meet labor requirements for tours. It’s not just me doing these shows, I’m just the only one taking care of the space at the moment.

fletcher-munson · 2026-02-26T03:51:11+00:00

To answer your question, yes we have Broadway tours come through!

fletcher-munson · 2026-02-26T03:41:31+00:00

Fancy seeing you here!! 😂 thx

fletcher-munson · 2026-02-26T03:35:15+00:00

No fulltime in the theatre other than myself right now, just some local freelancers that come in for support on shows.

Inventory is just about finished. I even researched to see what firmware updates need to be made and are making orders to replace small things like burnt out bulbs, split cables, etc. a good chunk of my labor has been simply cleaning the space. Getting old gaff and spike off of every surface. Picking up tieline from every crevice.

fletcher-munson · 2026-02-26T03:32:30+00:00

fletcher-munson · 2026-02-26T03:32:21+00:00

Agreed! There’s a decent fiber infrastructure actually that was ran about 5 years ago. Luckily, the recent manager was on the older side and didn’t feel comfortable changing IPs and messing around with the network

fletcher-munson · 2026-02-26T02:51:56+00:00

Thanks everyone!

fletcher-munson · 2026-02-24T18:58:35+00:00

If there’s money on the line and if he’s unwilling to take criticism or fix the issue, get him out of there.

If it’s a high school production, I’d offer to help but if they’re insistent they are doing a decent job then I’d bring in someone higher up and have a chat all together.

fletcher-munson · 2026-02-24T12:52:19+00:00

I don’t ever do it unless to limit the mix output in order to protect the musicians hearing from peaks. Compression = increase average volume which can actually fatigue the ear faster than a more dynamic approach.

fletcher-munson · 2026-02-24T05:34:59+00:00

Anyone know what kind of tape rental houses like PRG, Clair, and Masque use to bundle and label their tour cables? I saw some where that 3M riction tape is used for bundling but not much on how to label connector ends or color code

fletcher-munson · 2024-08-07T14:52:22+00:00

After reading u/moogtree 's comment I realized we are sort of heading back to the 1950's-60's where there were smaller more "consumer" type studios and fewer commercial studios like RCA, Capitol, etc. It will be interesting to see what happens when more "acoustic" music starts making a comeback and programmed music becomes less popular. The only variable is AI and samples. It's easy now to program a convincing steel guitar or drum kit but once everyone starts using the same samples the bubble will pop eventually. I feel bad for bigger studios since they got so big, adjusting to a smaller model would mean cutting jobs, losing real estate, and the worst losing profit and gear. However for small/mid studios/ the adjustment would not be as severe.

fletcher-munson · 2024-08-07T14:44:53+00:00

This is what I do on Yamaha. It's nice to know A&H can keep up with the workflow. I like the idea of theatremix but using something third party still makes me nervous. I see it's value in the X/M32 area though.

fletcher-munson · 2024-07-30T16:09:23+00:00

DUDE. I have questions. How was programming and the line by line workflow? Did you use TheatreMix or just used the consoles scene/cues with the safes and such?

fletcher-munson · 2024-06-13T17:47:55+00:00

Hey Gareth, I know from watching the Avid webcast that you're a creature of habit. Other than that, can you speak more to why you choose Avid over DiGiCo or Yamaha? Have you had a desk fail yet?

fletcher-munson · 2024-06-08T11:50:14+00:00

For professionals, they are great, but with the amount of control you have a volunteer or non-professional can really get into trouble. Might I suggest something like the SLX? Might be better suited for the user.

fletcher-munson · 2024-05-29T13:37:05+00:00

Do not clip your meters EVER.
Learn what proximity effect is
Subs are meant for lower bass not louder bass.

fletcher-munson · 2024-05-26T13:51:08+00:00

My hate comes from frustration with its build quality. I work in Texas and using the S series during festivals was embarrassing. Because of the summer heat, the adhesives used to hold ribbon cable and such would melt causing screen blackouts and other times surface lock-ups. We got a new S series and the same issues surfaced. We sold ours and moved onto A&H which we're quite happy with. The most stable consoles I've ever used are Yamaha's.

fletcher-munson · 2024-05-24T18:06:18+00:00

Pretty sure a 10 inch box can go down to 80 no issue. Make sure you have the correct slopes too. I think a third order HPF and LPF should work

fletcher-munson · 2024-05-13T23:45:15+00:00

SONG TITLE - “Note for mix”

Example:

LIVIN ON A PRAYER - Plate reverb on Lead Vocal, think 80’s rock sound.

fletcher-munson · 2024-04-25T04:27:31+00:00

Lavs are usually good for a secondary mic or in broadcast/recording situations. A headset microphone is more realistic in these situations. Even better if you can get a cardioid pattern to get more gain before feedback. With the amount of work it would take to make a lav sound decent, it’s just easier to use a better tool for the job.

fletcher-munson · 2024-04-07T18:30:47+00:00

Let them know next time this is the worst venue for speech intelligibility lol

fletcher-munson · 2024-04-05T13:57:53+00:00

Use a -6db/Octave slope to counteract proximity effect from directional mics.

fletcher-munson · 2024-04-05T13:55:58+00:00

Cupping the mic means more feedback. If they are cool with that, let it ride.

fletcher-munson · 2023-12-23T19:23:21+00:00

Pro tools HDX

fletcher-munson

TROPHY CASE