Professional Sound - April 2018 - Page 35

Gingras is a veteran of Quebec’s pro audio community. He cut his teeth working with several of the province’s best-known sound companies, mixing shows in some of Mon- treal’s best-known venues, and touring with many of the province’s best-known artists. He also boasts an impressive resume of studio work and now divides his time between live sound, remote and studio recording, mixing for broadcast, and just about every other odd job that comes up in the business. He began his stint with Reno back in 2008, and in the decade since, has collaborated on various tours and all kinds of special events. “With Mrs. Reno, the production is rarely small, often with more than 20 musicians on stage,” he explains. In fact, the smallest production he can recall was for her intentionally intimate Chanter pour toi ce soir (Singing for You This Evening) Tour in 2013/14, which featured 12 artists on stage for its 80-show run throughout Quebec, Ontario, and New Brunswick – “and more than 80 inputs on the patch!” And so while he acknowledges that Ginette Reno Symphonique was undoubtedly a unique and special experience for those in attendance, it wasn’t quite as novel for the artist and her crew. In the past 10 years alone, they’ve per- formed with the Quebec Symphony Orchestra at the Basilica of Sainte-Anne-de-Beaupre (captured for the DVD release Divine), with the Montreal Metropolitan Orchestra at the Montreal Symphony House to raise funds for the Montreal Cancer Institute, and with the Symphonic Orchestra of Longueuil for the City of Boucherville’s 350 th birthday celebrations. For much of his time with Reno, Gingras was mixing on a Yamaha PM1D, and says they were always satisfi ed with the audio quality and feature set of the once-ubiquitous console; however, considering its size and weight along with the fact that many new technologies have hit the market in the time since its release, Re- no’s production recently purchased its own pair of Yamaha CL5 digital audio consoles. As Gingras explains, though, before they even began planning for Ginette Reno Symphonique, the FOH-designated CL5 was tapped out in terms of inputs. “We had no choice but to add the Dante MY16-AUD cards to allow for the two consoles to get 80 inputs directly on the network,” he explains. “They were all patched in three [Yamaha] Rio3224-D [digital stage boxes] that we’d also purchased.” For previous shows, they’ve had to add a sidecar console to handle things like talkback, click tracks, programmed sequences, and crowd mics; however, this time around, for the HOUSE LEFT NEXO STM MAIN & SIDE ARRAYS PROFESSIONAL SOUND 35