J Pearce

I'm a big fan of a DPA4099 on lecterns, or the 4098 if you want something lectern specific - however that's probably above your budget level. Most miniature lectern mics will want phantom power, and external AA battery boxes aren't really a thing like they used to be. A cheap mixer in the lectern podium might be a good cheap solution to supply phantom power? The cheap CPC gooseneck mics are passable if you're happy to accept reduced gain before feedback. I wouldn't go for 2 mics unless you have someone mixing who can dynamically choose which is getting the best signal. Having 2 mics open at the lectern simultaneously is likely to cause comb filtering issues and reduce the gain before feedback.

We use the Edding pens, not sure which series, I'll check the tub if I remember.

CPC sell some good silver paint pens that we use for marking IDs onto various things.

I’d use Track I.e “Track 12 DBass Spot”

Fair correction. I love Audacity for its simplicity - the MS Paint of audio editors, but it wouldn't be my editor of choice for a podcast unless it was a record-as-live in one take with just a bit of trimming and mastering to do.

When I was at Symphony Hall (2262 seats), anywhere from a splitter van to multiple artic trucks, but most commonly 1 truck of lights/sound/backline, sometimes 2 - for touring music acts bringing PA, 2-3 trusses of LX plus floor package, and backline. I've had 5 trucks into Symphony Hall before, on a large opera project. BBC Young Musician also had a lot, but some of those were OB trucks, which probably isn't the info you want.

Reaper isn’t too complicated, especially if you’re not seeking to do advanced things - and yes, costs a small amount for a licence. Basic trimming and levelling is fine in audacity, but heavier editing rapidly gets awkward as you can’t drag audio tracks around.

Yep. You can make very effective baffles from 100mm mineral wool insulation 'batts' in a frame made from 4x1 (or ripped down from ply), and covered in a cheap flame retardant fabric. I made 12 for a brass band rehearsal room for under £20 per panel. I have some slightly fancier ones at work that our workshop made up, and they get regular use both for voiceover recordings and for acoustic control in orchestra pits. Software wise - Audacity would do, but Reaper might be a more efficient workflow. 2 dynamic mics, and a small mixer with USB interface, plus stands and cable would sort you out, probably inside £200 with careful choices.

Make the backing track mono on L and the click/guide mono on R. Use any convenient playback software or hardware that suits and pan/route on your console. There's a few windows options. I've not got on with any of them, since I moved away from FX-Live in 2006. Or buy a mac mini, a 4 output soundcard, a QLab licence, and use the industry standard solution. QLab costs $5 a day to rent a licence, and they'll give you a full time licence after 100 days of renting.

Why faff around with IEMs and mics when you could rent a proved system?

A lot of the off-the-shelf solutions support 4 wire audio, so could probably work with the system as described, perhaps needing some attenuation or gain. Expensive solutions will have good coverage, the less you spend the patchier the coverage will be. Something like Freespeak has astonishing coverage in my experience, but is equally astonishingly expensive. Clearcom/HME DX210s might work well for you, you might find a cheaper used package perhaps.

Caution is always wise, but I think you're overstating it. Yes it will need some looking after, but there may already be someone on the show who can do that for this cue. Lots of shows have automation, or indeed flying - it's not that cutting edge really. I can think of a few ways to do it from low tech to high tech, both human powered and automated. The simplest is probably a vertical truss/frame with a trolley that rides up and down, a pulley at the top and either a counterweight or a motor to control it. The cost of that would be into £000s, but not 10s or 100s of them. You could build it inside a frame style 'ballet boom' with caging on the outside if your RA called for it. A bit more weight and stuff than flying, but it eliminates wobble and means you're less relient on venue infrastructure if you're going to places with minimal flying setups. At most fly tower equipped venues you'd probably just trapeze or scaff it off a fly bar (with perhaps some consideration to weight at the other end to avoid unbalancing the bar). For off the shelf bits - the camera lift poles that are fitted to remote operation cameras might be a solution. I was playing in my head with keeping the light source on the deck and moving a mirror, but I think that would cause too many issues with the focus. Or as above, a 1m stick of truss and a couple of automated hoists with a 'safe zone' below. A member of crew just outside the safe zone with an estop is a simple control measure for that scenario.

Party line analogue comms are unbalanced, so using unshielded twisted pair cable may result in noise/hum. Or you may be fine. Is the AD903 on a different comms circuit to the pack? If not, could the AD903 be located at the remote end?

I actually have no idea on those queries - it's run by the creative learning dept, and my involvement is purely on the technical side.

Theatre is permissible if working on a youth-theatre production or if licensed by a performance licence (you won't get one of these for backstage work). At the Rep we run a work experience week, which runs its own self contained performance, assisted by theatre professionals. We also run a large education/youth programme, which this year includes a backstage element, though we're only offering that to 18+ years of age. You might find a production company who find themselves able to take you on, working on corporate type events, which I can't see ruled out in the laws. P.S. Paul - there's a few more restrictions that work experience schemes do not discount, including work at height over 3m and 'heavy industry', alongside restrictions around sales of alcohol.

Possibly worth opening it and making sure the ribbon cable to the screen is properly seated.

If I get a chance on Monday I'll test my phone with the Interspace USB BalBox at work - it's a really simple class compliant USB audio interface with 2 XLR outs, and is ideal for things like this.

Some USB-C audio interfaces will work with iphones, using the appropriate cable. Gear4music has quite a selection.

Fast dispersing fluid (sometimes sold as steam or 'co2' effect) makes the difference as you don't end up with a smog.

It was the MOV that died when my X32 rack’s power supply gave up.

To add: Unicol now do a straight down mount - though looks to be a custom order. Less flexible than a rigging frame, and weight limited, so depends what projector you’re using.

Many years ago, I worked on a show with a fireplace that had a character appear through it. That used a serpentine of pvc pipe with holes drilled in the top, fed fast dissipating smoke from a smoke machine. In the gaps between the pipe was a load of PAR16 lamps - though these days you’d probably use pixel tape.

Last time I looked Unicol didn’t have any good options for straight down. I guess you could use one of their plates and a yoke, but you’d end up with a off centre weight that doesn’t want to hang nicely on the bar, and I suspect you’d have issues keeping the projector on alignment. I guess you could make something out of dexion and stud, but it wouldn’t have the adjustment of a proper frame, and it might not ‘inspire confidence’ visually. Rigging frames really are the standard solution here. Stage Sound Services have frames made from 20x20mm box steel that are a little more compact. Most of these only have a standard yoke, but I’m sure their fabrication team could make one with a rear mount.

You want a rigging frame with vertical attachment point. I like the ones that Rigtec make, their website says that their X25 frame fits your projector.

I might be missing something obvious - but could you not just use multiple of the smaller units?