The Cinematic Orchestra usually uses wedge monitors, but for the Royal Albert Hall performance, almost all the bandmembers had to use in-ears, and we used wedges for the guest vocalists, supporting acts and as a general backup, along with some spot monitoring for the conductor and some sections of the London Metropolitan Orchestra. I took eight returns [on a Soundcraft Vi4] of mixed-down groups of first and second violins, viola, celli, brass, woodwinds, double bass and harp, and assigned them to eight VCAs. Although I generally made the orchestra’s presence felt in the band’s in-ear mixes, I was mindful not to give them too much, as inevitably that amount of open microphones can quickly taint the mix if not pulled down appropriately at the right moments. I ran 11 stereo in-ear mixes, nine wedge mixes, plus two effects for this show and the Soundcraft handled it all with ease.
