Yea Bruce! It's all about the choreography! Beautiful set up! I had the opportunity to play the first combined book for Beauty and the Beast of drum set & percussion and again like you said the set up was everything! Being it was on a national tour… Every house and pit was different so that created more challenges. But keeping that basic set up was key. It truly was all about the choreography. And knowing a few tricks to set yourself up to win! Lol ! Keep having fun! Hey Kalani, thanks for sharing. ✨✌️💙
Thank you for this video. It was good seeing Bruce Carver, too! I studied under Bruce when he taught percussion at Triton College in River Grove, IL, including being in a percussion ensemble he directed. Great to see and hear him, along with all his toys. All the best to you, Bruce!
Working Man! Now _that's_ a professional musician. Great video. Broadway show setups always remind me that even though I'm the drummer in the band and in the back of the stage...at least they didn't put me in a broom closet with a mic! 😂😂 Sometimes I wish they did! 😂😂😂 Dunno what's up with the camera work criticisms. I didn't even notice. Go watch _Blair Witch Project_ a few times, it'll clear up those tummyaches right quick!
So how does the sound get from the basement upstairs? You can mic a drum set but I don't think you can mic a sleigh bell set. Plus I don't see a monitor that lets him now where the actors are in the play. Very interesting. Thanks to both of you.
There are multiple microphones in, around, and under this set up. The camera work makes it hard to spot the mics - often the mic is just out of frame - so watch it again and look for mics in odd places. The bass drum is obvious, the gong is probably mic'd from behind. In the opening shots of tour I saw a Sennheiser e604. Most is "area" micing because the instruments speak from their entire physicality. Lots of cabling connects the microphones to the sound mixing console at the back of the theater. The conductor camera monitors look like little 5 inch displays, there is one clipped to the top of each music stand (3, I think). He doesn't need to see the actors, he needs to see the conductor and hear some or all of the orchestra. He has headphones or IEMs and likely an Aviom mixer where he gets "stems" of other orchestra sections, vocals, maybe SFX and a click track, and he can make his own monitor mix to hear as much or as little of those things without affecting the other players or needing attention from the A1. Every pit player typically gets this setup on Broadway shows. There is a huge amount of technology back (and under) the stage!
I am a percussionist for my church worship team.I am always looking for new insrtruments .where is a good place to get percussion instruments that might be different from what i can find anywhere else.
There is a base salary for a broadway musician ...but apparently the amount increases by about $150 for each additional 'instrument'. This guy literally has dozens of additional 'instruments'. Does each one qualify for the multiple?
No (wish it did!) 'Percussion' is technically one instrument to the musician's union If there was a section of the score where there was, for example, a four measure fluglehorn part and for some reason no one else in the orchestra can play it, (maybe there's no brass in this show, so no horn players were hired), but the percussionist does have the ability to play it, and does, then they get extra. This is when during pre-production, a lot of artistic desicions are shepherded by finance. Do you NEED to have that fluglehorn part? It's an extra $150 a week x 52 weeks a year is $7,800 to payroll. For a four measure fluglehorn part? That's when the producer says, "Do we NEED that part?" And the writer goes, "YES! It's a major part of the villian's story arc!" And the producers go, "Then YOU pay for it out of your salaries, I'm not paying for that!" "Ok! Maybe we DON'T need it!" the writer then yells, and cuts the part. Get it? 🙂
Theaters with a thirty person pit are a rarity these days, with many shows opting to have the orchestra remote. The Emmy's for example, the band is three blocks away in a rented studio with the conductor at the event with a multiple camera setup surrounding him and pointed at him where each camera is a different section of the orchestra. The players - three blocks away - each have a screen with the conductor on it. Theyve been doing that since the 90s.
Absolutely. When any show reaches the point it opens in its final form, the producer, director, authors, composers, arrangers, and designers "freeze" the show. Whatever or however something was done at that point is how it will be done, forever (more or less) under the license granted by the authors and composers. Maintaining that, artistically, is called production integrity. Designers, composers, authors and some others get royalties for each performance, and producers are obligated to maintain the designs as the director approved them. Quick story - a few years ago the sound designer showed up at a Broadway show's tour stop in my fair city. He sat in the audience for 2 performances and then gave notes to the touring audio crew. "I noticed in XYZ song that you have turned down the trombone from the established level. Why?" "The player has been playing badly, so I took it down." "That's a music director problem, not a console operator decision. Mix the show the way it was set, and let the trombonist suck out out, then the music director can fix it." There ain't much autonomy.
@@edrcozonoking I think his cameras stabilizing works well. The focal length choice is good too. Did you expect him to set up multiple go pro rigs so just exclusively you can see these instruments in locked off shots. I do not know what your experience is creating video, but next time you get invited to a backstage while a production is running, you make that video. Thanks!
Yea Bruce! It's all about the choreography! Beautiful set up!
I had the opportunity to play the first combined book for Beauty and the Beast of drum set & percussion and again like you said the set up was everything! Being it was on a national tour… Every house and pit was different so that created more challenges. But keeping that basic set up was key. It truly was all about the choreography. And knowing a few tricks to set yourself up to win! Lol ! Keep having fun! Hey Kalani, thanks for sharing. ✨✌️💙
Okay, love the double cymbal trick!
Thanks for the FUNTASTIC look into how the magic is made.
Those sleigh bells!!! Wow!
Right on brother, that was set up was amazing thanks for sharing thatt. The bird flappers were great. Haha lovin that.
Thank you for this video. It was good seeing Bruce Carver, too! I studied under Bruce when he taught percussion at Triton College in River Grove, IL, including being in a percussion ensemble he directed. Great to see and hear him, along with all his toys. All the best to you, Bruce!
❤❤❤❤ All my favorite instruments👌👌👌
Great insight! Thanks for sharing
Interesting video - love the waterphone! I've never heard of that instrument before
Working Man! Now _that's_ a professional musician.
Great video. Broadway show setups always remind me that even though I'm the drummer in the band and in the back of the stage...at least they didn't put me in a broom closet with a mic! 😂😂 Sometimes I wish they did! 😂😂😂
Dunno what's up with the camera work criticisms. I didn't even notice.
Go watch _Blair Witch Project_ a few times, it'll clear up those tummyaches right quick!
Excellent Bruce!!!
So how does the sound get from the basement upstairs? You can mic a drum set but I don't think you can mic a sleigh bell set. Plus I don't see a monitor that lets him now where the actors are in the play. Very interesting. Thanks to both of you.
There are multiple microphones in, around, and under this set up. The camera work makes it hard to spot the mics - often the mic is just out of frame - so watch it again and look for mics in odd places. The bass drum is obvious, the gong is probably mic'd from behind. In the opening shots of tour I saw a Sennheiser e604. Most is "area" micing because the instruments speak from their entire physicality. Lots of cabling connects the microphones to the sound mixing console at the back of the theater. The conductor camera monitors look like little 5 inch displays, there is one clipped to the top of each music stand (3, I think). He doesn't need to see the actors, he needs to see the conductor and hear some or all of the orchestra. He has headphones or IEMs and likely an Aviom mixer where he gets "stems" of other orchestra sections, vocals, maybe SFX and a click track, and he can make his own monitor mix to hear as much or as little of those things without affecting the other players or needing attention from the A1. Every pit player typically gets this setup on Broadway shows. There is a huge amount of technology back (and under) the stage!
I am a percussionist for my church worship team.I am always looking for new insrtruments .where is a good place to get percussion instruments that might be different from what i can find anywhere else.
Wow..... What a great set up!
There is a base salary for a broadway musician ...but apparently the amount increases by about $150 for each additional 'instrument'. This guy literally has dozens of additional 'instruments'. Does each one qualify for the multiple?
No (wish it did!) 'Percussion' is technically one instrument to the musician's union If there was a section of the score where there was, for example, a four measure fluglehorn part and for some reason no one else in the orchestra can play it, (maybe there's no brass in this show, so no horn players were hired), but the percussionist does have the ability to play it, and does, then they get extra.
This is when during pre-production, a lot of artistic desicions are shepherded by finance.
Do you NEED to have that fluglehorn part? It's an extra $150 a week x 52 weeks a year is $7,800 to payroll.
For a four measure fluglehorn part?
That's when the producer says, "Do we NEED that part?"
And the writer goes, "YES! It's a major part of the villian's story arc!"
And the producers go, "Then YOU pay for it out of your salaries, I'm not paying for that!"
"Ok! Maybe we DON'T need it!" the writer then yells, and cuts the part.
Get it? 🙂
Exactly what i am here for. Thank you so much.
Wait does he play this show at that spot or do they move all those equipment to the pit area?
@@richbrass12 That's where he plays. That's why there are the video monitors
Theaters with a thirty person pit are a rarity these days, with many shows opting to have the orchestra remote.
The Emmy's for example, the band is three blocks away in a rented studio with the conductor at the event with a multiple camera setup surrounding him and pointed at him where each camera is a different section of the orchestra. The players - three blocks away - each have a screen with the conductor on it.
Theyve been doing that since the 90s.
Thanks from Argentina❤
I played "Peter and the Star Catcher" which also has a ton of percussion. So much fun!
Wow ! So cool ! thanks for sharing 🎵🦋🦅🌹
when do we get to see his full run?
I’m curious how flexible the score is. Does he play the exact same thing every performance?
Most Broadway shows are very carefully orchestrated, so probably yes.
Absolutely. When any show reaches the point it opens in its final form, the producer, director, authors, composers, arrangers, and designers "freeze" the show. Whatever or however something was done at that point is how it will be done, forever (more or less) under the license granted by the authors and composers. Maintaining that, artistically, is called production integrity. Designers, composers, authors and some others get royalties for each performance, and producers are obligated to maintain the designs as the director approved them.
Quick story - a few years ago the sound designer showed up at a Broadway show's tour stop in my fair city. He sat in the audience for 2 performances and then gave notes to the touring audio crew. "I noticed in XYZ song that you have turned down the trombone from the established level. Why?" "The player has been playing badly, so I took it down." "That's a music director problem, not a console operator decision. Mix the show the way it was set, and let the trombonist suck out out, then the music director can fix it." There ain't much autonomy.
Very interesting.
That’s insane! 😲 wow!
I wonder how many hours it took to set that up!
What, no cowbell?
It’s on his right.
I hope he gets paid at least for doubling…
Shakey camera work. He can't stay on one thing long enough to see it. Can barely watch without getting nauseated
Jeez keep the camera still for a second. It’s sickening!
@@edrcozonoking I think his cameras stabilizing works well. The focal length choice is good too. Did you expect him to set up multiple go pro rigs so just exclusively you can see these instruments in locked off shots. I do not know what your experience is creating video, but next time you get invited to a backstage while a production is running, you make that video. Thanks!