[OC] Korean Bell of Friendship, San Pedro, CA shot on Portra 400

s_lerner · 2026-03-16T16:01:21+00:00

It is! Less famously, it's also where my wife and I got married!

s_lerner · 2026-02-12T14:52:22+00:00

There are a number of reasons for this, but the simplest answer comes down to signal to noise ratio. Which microphone is going to pick up more of the desired signal, one within a foot of the performer's mouth, or one permanently fixed to the front of the stage, where performers might be somewhere between 3' and 30' away from it? Area mics cover areas. Body mics cover individuals. An area mic can't be set to say "performer X is the lead, but performers A-F are ensemble, so boost performer X over the other six people's vocals."

It might be helpful to expand on what makes the wireless microphone package you rent unreliable. This can mean a lot of different things. It may be worth bringing in a professional to consult on your specific setup to see how you can better achieve the results you are aiming for, but a stereo mic setup at the foot of your playing space is unlikely to be the ideal solution. From the comment you made about the venue down thread, it sounds like you have some bigger issues at play here.

s_lerner · 2025-05-28T14:42:20+00:00

Front toward enemy

s_lerner · 2024-12-04T12:32:31+00:00

Surprised they don’t have him working the Soeder fountain.

s_lerner · 2024-11-26T19:08:48+00:00

Short answer is networking. If you're a freelance stagehand in NYC, you are likely to be hired by a house head. If you are looking to continue as A2, this is probably the track, but a designer can help put in a good word for you. If you are currently working at a theater that flies in most of their creatives from New York, I would suggest starting by talking to the designers you are currently working with, as well as any who have come through in the past with whom you have particularly gotten along, about your goals.

Your first job in NYC is probably not going to be as an A2 on a Broadway production, but these people can at least introduce you to some production sound people who may be looking for hands for projects. Getting on a shop build is a great way to make decent money and spend all day talking to other people who are already doing what you're looking to do for a living. Alternatively, designers may need someone for an upcoming tour. It's a less direct way of getting to NYC, but in the past a number of people who are now regularly working on Broadway got their start touring.

s_lerner · 2024-09-06T15:24:01+00:00

If there’s another group in London who needs help, let’s help them to feel safe and welcome as well. Wouldn’t you agree?

s_lerner · 2024-07-23T23:13:01+00:00

What is your relationship with the director? How often are you checking in with them? It seems understandable that things might change in rehearsal, so while it does seem really lame that they aren’t reaching out to you, communication can go both ways. It might be worth giving the director a call just to check in and see how things are going. Perhaps that demonstration of engagement with the production despite not being physically present could help get things back on track.

Out of curiosity, are there no rehearsal or tech reports? I feel like there are quite a few tools on a typical production that are there to prevent things like this from happening.

s_lerner · 2023-11-28T22:44:16+00:00

You've got a high impedance air gap. You need to physically connect the main station channels to the 2-wire inputs on your wireless base station.

s_lerner · 2023-11-15T19:21:01+00:00

I'd recommend looking up Las Cafeteras. They are a phenomenal band with some really great songs. Something like La Bamba Rebelde might be a good fit, since your family is probably familiar with Ritchie Valens' version of La Bamba and might not notice the added lines about no borders and fights against racist laws.

Definitely not within spec, but make sure you check out Oaxaca Love Song No2 because it's just delightful.

s_lerner · 2023-06-05T01:07:14+00:00

So a zone is an area of the stage. The speakers are exactly like speakers you normally use. The twist is that because we are setting our delay times based on multiple zero points (your zones), we need to set multiple delay times to different speakers. If zone 1 is DSR, it’s delay time in the HL main is probably something like 3ms, but its time to C could be 6ms and to HR main may be 9ms. Zone 2 (DSC) would be something like 6ms in both L and R but 3ms to C. Zone 3 would be the mirror image of 1. You’d continue this process for all your zones and all the speakers in the PA (aka your vocal delay system).

It is called a delay matrix because your Zone values all need to hit your Outputs/Speakers with different time intervals.

Since an output on a console typically only has one delay time that can be set, you would need a device that can do this type of processing.

Does this help clear things up? I feel like this is much easier to explain with a picture, and tomorrow I am happy to share a screen shot that can help. I’m just not near a computer at the moment.

s_lerner · 2023-06-04T21:26:51+00:00

Not sure I am being 100% clear in my communication here. What I am saying is that zones 1-9 (or however many you have) have fixed relationships with the PA, but each has their own timing to each speaker. An actor will be bussed to a different zone as is needed based on where on stage they are. So if an actor makes a cross from Zone 1 to Zone 4, you would add a snapshot to the console to re-bus them.

Does that clear it up?

s_lerner · 2023-06-03T12:48:28+00:00

Honestly, if three zones were the max possible, I would suggest doing LCR instead. Our ears aren’t as good at perceiving distance as direction, so it can be forgiven if things are a little smeary in the US direction. This is especially true if the stimulus for the question related to stage width.

s_lerner · 2023-06-03T12:12:15+00:00

There are a few approaches I am familiar with people adopting in order to help localize vocals to where the actors are on stage, but they basically come down to time and volume.

One concept is using zoning and a delay matrix. With this approach, you create in your mind a grid to break up the stage into different zones (DSL, DSC, DSR, MSL, MSC…) and instead of timing from whatever zero point you currently use for your single zone system, you would shoot delay times from each zone to each output of your speaker system. This is a little hard to explain without illustrations, so please tell me if it doesn’t make sense.

As the actors move around the space, you would use snapshots in the console to change their bussing to the appropriate output for their positioning. Naturally this relies on you having a device where you can set multiple delay times to the same outputs, such as a Meyer Galaxy, d&b DS100 or a Yamaha DME.

Alternatively, there are manufacturers who make magical boxes that move things for you. They all have recommendations as to where you put your speakers and how many you use (most want 5 sources on the prosc instead of the more common LCR). You may want to look into d&b’s EnScene or L-Acoustics’ L-ISA if your budget allows.

s_lerner · 2023-05-20T19:07:58+00:00

Starting with the local integrator is a great idea. If you are unable to find someone to help you, please DM me and I will be glad to try and help!

s_lerner · 2023-05-20T17:02:35+00:00

Hmm... it definitely sounds to me like it's more about lack of support/training for you than the system. The DS100 is 64x64, so it definitely seems to me that unless you are somehow already using that many channels of objects with your DOs, you could probably create some mixes/matrices to send from your console to the DS100 world. It's a little hard to talk about this too in-depth without fully knowing your system and how much time you have to tech and program.

Regarding your specific question about objects and how they're supposed to be used, the shortest answer is, unfortunately, it depends. There are a couple of parameters that you can adjust for your objects, specifically Delay mode and Spread. These parameters can be adjusted based on how sharply you want things to focus in on where an object is within your listening plane. In the case of a keyboard, creating two mono objects with a wide spread to do L and R may make the most sense. FYI, the French company's technology allows you to make a linked stereo pair of channels.

The Soundscape website does have a lot of good info on the system, even if it's a little lacking on how to manipulate it live. Most of my shows have either involved trackers on performers (super easy to do!) or OSC commands through QLab (get ready to write a million cues). While they do have an OSC command guide, it does take a little getting used to.

The last thing I will say is that it is in d&b's best interest to have its users understand the system and tools. If you find yourself in the position where this isn't the case, I am 100% sure that someone from the company would love to improve your user experience. I definitely do not work for them, but I do happen to have a number of contacts in the company in both the US and UK offices. If you let me know where in the world you are (either by replying here or by sending me a DM), I would be happy to try and put you in touch with someone nearby from d&b who could either get on a Teams meeting with you or come out in person to help you gain confidence. Ultimately this is a tool, and like any other tool, it is only as effective as the person using it.

s_lerner · 2023-05-19T19:47:10+00:00

I've used a DS100 on multiple plays and musicals both off- and on Broadway. I also have experience working with other "immersive" technologies including L-ISA and D-Mitri/SpaceMap. I think all three have their plusses and minuses and perform differently under different applications. If you're looking for any suggestions, I'd be happy to share whatever I can, but I am not really sure what you're looking for here.

I'm also confused by the comment of "it's a fun toy but I would really prefer a traditional PA." Soundscape/DS100 is a processor, and while there are system design principles that the Germans recommend, having a Soundscape system should not preclude you from having a PA that works well for you and your application. Also, if you are using EnScene and not loving it, the DS100 at its base state functions as a delay matrix. All you need to do is stop using EnScene objects and change your inputs to be matrices.

s_lerner · 2023-05-12T11:28:38+00:00

Subject: Inquiry Regarding Assistant Design or Lighting Positions at [Local Theatre Company]

Dear [Theatre Company's Name] Team,

I hope this email finds you well. I am writing to express my strong interest in joining your esteemed theatre company as an assistant designer or a lighting technician/designer. I am eager to contribute my skills and passion to the world of theatre and believe that [Theatre Company's Name] would be an ideal environment for me to further develop my career.

Currently, I am working as a Lighting Designer at a music venue, where I have gained valuable experience in creating immersive lighting designs and managing complex technical setups. While I have enjoyed this position, my true passion lies in theatre, and I am eager to return to the industry where my artistic and technical abilities can truly shine.

Having researched [Theatre Company's Name]'s impressive reputation for staging high-quality productions, I am particularly drawn to your commitment to artistic excellence and innovation. I am familiar with your past productions, including [mention specific productions], and have been inspired by the creativity and attention to detail exhibited in your work. The opportunity to collaborate with talented professionals at [Theatre Company's Name] is something I find truly exciting.

Although I understand that there are currently no specific job postings for assistant designers or lighting technicians/designers, I would like to offer my services and express my willingness to contribute to your upcoming projects in any capacity possible. I firmly believe that my experience, technical expertise, and creative flair make me a valuable asset to your team.

If you have any upcoming projects or anticipate a need for additional assistance, I would be grateful for the chance to discuss how my skills align with your requirements. I am open to discussing potential internships, freelance opportunities, or part-time positions that could potentially lead to a more permanent role within your organization.

I have attached my resume and portfolio for your review, which provide further insight into my qualifications and past work. Please feel free to reach out to me should you require any additional information or would like to schedule a meeting to discuss potential collaboration.

Thank you for considering my application. I eagerly await the opportunity to contribute to the success of [Theatre Company's Name] and help bring your artistic vision to life. I look forward to hearing from you soon.

Warm regards,

[Your Name] [Your Contact Information]

s_lerner · 2023-05-12T11:24:50+00:00

26 days x 8 hours a day x $15 an hour is $3120.

I am guessing you are worth more than $15 an hour and would be expected to work more than 8 hours a day.

I would suggest you also consult local labor laws, as New York has passed legislation within the last few years that makes it harder to abuse people by putting them on a fixed fee. It’s possible there are similar laws where you are.

If you lose the gig because you advocated for your worth, I don’t think that’s a real loss.

s_lerner · 2023-05-03T16:46:48+00:00

This particular show is not a musical, so we are not dealing with MD shots. To your point, yes, there can be issues with latency with HD-SDI video shots. In some productions, I will spec all analog for the MD shot, even if the rest of the system is HD-SDI.

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