Once SSE became aware that they would also be mixing a 35-piece brass band, as well as an 800-piece choir - plus various ensembles and pre- and post-show concerts, the Vi1 was brought in specifically to handle the choir sub-mix; this was then piped back into the main Vi6 FOH desk, and sent as a L/R monitor feed to the Vi6 stage desk.
Mixing at FOH was the experienced Craig Pryde - a long-time Soundcraft Vi devotee (whose induction into the Soundcraft environment had originally taken on the first Vi4 prototype). He and monitor engineer Kevin Sparkes - who had been relishing the chance to use a Vi6 - spent the two load-in days building up their desk templates so that by rehearsal day they were ready for anything the production might throw atthem.
This included all the pre- and post-show entertainment (including a performance by Susan Boyle), school choirs and VT - interspersed with a two and a half hour long mass.
FOH engineer Craig Pryde comments, "Once we learned of the brass band, we were fortunate that the size of SSE meant that there was a Vi1 available in the warehouse - it just required a bit more work on the day. We set up a quick generic patch for around 108 channels and it was very much a high-speed playback show."
Unlike the mass, presented in part-English, part-Latin from seven mic positions (including an audience call and response) the pre- and post-mass entertainment was fully sound-checked. During the mass itself the sound engineer took cues from an interpreter from the Vatican, who accompanied him on the mix riser.
After the show, Craig Pryde stated, "Kevin and I both agreed it was the most surreal show we had ever done. I was behind the desk from 9am until 8.26 without moving."
(Jim Evans)
