Chris is in his 4th year at the University of Leeds, studying MBChB Medicine.
Over the course of the year, as President I’m responsible for organising and overseeing the running of the society, as well as being the key contact (alongside the Secretary) for Backstage. I chair our weekly Committee meetings and have the joyful responsibility of writing a sick annual review for the AGM. Alongside the rest of the Exec, I’m also responsible for maintaining a friendly, healthy relationship with the other performing societies, union staff and our regular hire companies.
“I’m responsible for organising and overseeing the running of the society, as well as being the key contact (alongside the Secretary) for Backstage.”
This year, in part due to my involvement as Technical Supervisor at LUU, my role has also extended into looking at equipment procurement for the ongoing Theatre Upgrade – going forward the Backstage President will sit alongside myself and other key LUU members at the Theatre Upgrade Meetings to help guide LUU’s vision for its theatres over the coming year.
“whilst it can be stressful and time-consuming at times, it is fully worth it for the final reward!”
I’ve had great fun sitting as President this year and whilst it can be stressful and time-consuming at times, it is fully worth it for the final reward!
P.S. In the event that another Committee member can’t fulfil their duties, the President is responsible for covering their duties until further notice.
If you have any further questions regarding my role on committee then please do contact me via firstname.lastname@example.org and I will do my best to give you some more insight.
Posted on 14th March 2017, by Chris.
As soon as the designers’ call came out for Ghost, I knew I wanted to get involved with a
show which has such a musically interesting, emotional score. Despite being a new member
of Backstage, I was fortunate enough to be able to co-sound design with Kat!
As you will have noticed if you crewed or came and saw the show, you will have noticed the
lack of band in the usual place at the front of the Riley stage. I knew the production team
wanted the band to be in flies backstage and bringing this into consideration had to be the
starting point of the design. With the band in flies, I had to think about how the band would be heard by the audience
and secondly, how the band would hear each other as well as hearing the cast. I wanted to
make the band as “electric” and acoustically silent as possible, reducing the amount of
acoustic sound that could spill onto the stage from one side, which would’ve sounded out of
place. All the guitars, keyboards and drums passed through DI boxes (Direct Input) which
were connected straight to our mixer, completely avoiding using amplifiers in the pit,
leaving just the strings and wind instruments making actual acoustic noise in flies! This obviously left a problem about how the band could hear each other! For the first time
for a few years, we decided to give each member of the band an individual headphone mix,
allowing each player the flexibility to choose how much of each instrument or singers they
wanted to hear. To achieve this, we had to borrow a couple of headphone amplifiers from
LSR, whilst also using all the sends on our multicore.
The desk of choice was the Si Compact 24 – a desk BSS will come more and more
accustomed with as we move into the “Refec Riley”. Using this digital desk allowed us add
effects such as compression, gates and graphic EQ to every send, to have full control over all
our aux sends (10 headphone mixes, 4 groups (Radio Mics, Ambients, Band and Playback)),
as well as allowing the faders to be arranged to make it as easy as possible to mix.
For Ghost, I set up a network in the Riley to allow us to have control over the projectors, as
well as being able to network the sound desk giving us access to the Soundcraft iPad app,
which let us control the sound desk from anywhere in the room. This was particularly useful
when setting up the headphone mixes for the band, as we could sort them all out whilst
being in flies by being with each band member as we mixed them.
In terms of mic-ing the cast, due to budget we decided to use four radio microphones, an
SM58 in each wing for off stage singing and using all of our ambients. Whilst it would’ve
been ideal to have more radio microphones, having the band isolated allowed us to bring
the mix right down when cast members without microphones had solo lines and once fully
rung out, the ambients can provide a lot to the overall sound!
Ghost allowed us to experiment with putting the band in an unusual place, using in ear
headphone mixes, more video monitors and networking the Riley, giving people the chance
to use new pieces of kit, whilst also contributing to one of the most exciting shows I’ve
worked on! If you have any questions about the Ghost sound design or anything about sound in general,
don’t hesitate to get in touch with me on Facebook or by email (email@example.com).
Posted on 5th December 2015, by Chris.