Professional Sound - April 2017 - Page 36

Donin is out as WE Day’s audio supervisor and RF coordinator on this most recent run, though he’s been working with the event in various capacities for the past several years. He and Beaudin have a relationship that goes back over the years, having collaborated on a number of proj- ects in the past. Though he boasts a rather impressive and lengthy resume in live sound, Donin says WE Day still stands out as unique from other projects he’s worked on. “It’s defi nitely a diff erent audience,” he begins, referring to the predominantly teenaged crowd. Being that it’s essentially a fi eld trip for those students and their teachers and supervisors, the show happens early in the day, with doors typically at 9 a.m. and everything wrapped up by early afternoon. More signifi cant, though, is the makeup of the show itself, the vari- ety of speakers and acts within it, and how it all aff ects the audio team. “There are the hosts and inspirational speakers, then there’s WE Day talent that speaks, and then there are the musical breaks,” he explains. “There are usually about six performances in a show – three in the morn- ing and three in the afternoon – and those range from bands to dance acts. And then with the music, sometimes it’s an acoustic performance and sometimes it’s a full performance with a choir or orchestra.” Donin is speaking with Professional Sound from the fl oor of Saska- toon’s SaskTel Centre the day before WE Day Saskatchewan, using the event’s performers – Tyler Shaw, Jully Black, and Brett Kissel – as exam- ples of the various set-ups a show might require. One of the unique aspects that addresses what would otherwise be a signifi cant challenge is the split at FOH that fi nds two engineers oper- ating two diff erent consoles: one on an Avid Profi le “performance” con- sole, mixing all of the live musical acts, and one on a Yamaha CL5 “traffi c” console, mixing the speech, sound eff ects, and any other component requiring simple playback. Engineer Wade Butland, who’s been working with WE Day since 2012, now oversees the traffi c console while Eighth Day Sound’s Chris- topher DeLucien, also the systems tech for the tour, mixes on the per- formance console. Rounding out the touring audio crew are Connor Sharpe on monitors and Ashoka Kanungo handling patch. In addition to being the main onsite liaison for all things audio, Donin also subs out the console operators when needed and su- pervises the various traffi c mics – a relatively tall task on a show this varied. WE Day typically runs 12 channels of wireless, with several hard-wired spares. In addition to speakers going on and off stage, those are distributed to various points in the arena, including the announcement mics at the producer’s table and one in the DJ booth for DJ Starting from Scratch, who co-hosts the show alon ݥѠ-ɑ=͡)ѡȁ܁ ɥ5ɅՑ̸)QݼɅѽ́ɔѕ)ͥձхͱ䰁́ݡ)ȁ́хѡəȴ)Ʌѽȁ́Յ䁍)Սѥ쁍ٕ͕)ݡͥЁ́х)ѡɗéչѼɕɕ͠)ɕѡɅ̴)ɥѥก%ӊéݕ)ѕа䁅Ёѡ)ѕȁх]é͕ͽ+q%ӊéչٔѕ٤)ͥܳ͡t ѱ́)ѡɔѡɽՍѥ)ѡՑɕܸq)ѡܰ͡ӊéѡɽ)ѼՕ́ѡɽ՝аݔ)ٔѼɽݥѠѡչ̸%)ݔٔѼչɽչѡ)ɑȁаѡѵЁ)Ѽͼѡɔͽѽ᥹չѥݡԴ)ѽѥ䁅ٕ́́Ѽ)ٕѡՑݡѡɔ)ɔ͕ٕɅ́ٔЁ+qQɔɔ܁͕́ѡ)͡܁ݡɔݔٔͥɼ)́хݼȁѡɕ)ѡՑͼݥѡ)ՍЁձгt)̸qQ՝mչѥ)t́ЁЁͥȁѼ)ٕѡѽѡȻt)]ӊéɔѡ1ɼ)ͥɐȁѡ 0ԁ́1)Dɕѱ䁽Ѽѡ̰)ѥȁչЁд)ɐȸ)́ȁѡA͕) ѱѠՐ́ȴ)ɵͥɥ]e(؃AI=MM%=90M=U9+j3jKj =99=HM!IAj5=9%Q=IOj] UQ19jQI% 5%aKj)Y=9%8jU%