My pit setup for 9 to 5. I am on Reed 2 for this production (flute/clarinet/bass clarinet/tenor/bari). The book is clarinet/tenor/bari heavy and quite light on the flute/bass clarinet. I am covering the flute and bass clarinet parts on my clarinet (which is almost visible in the picture). I've also learned that sometimes covering bass clarinet on a soprano clarinet is a big no-no, but it is too far into rehearsals to change now. But next time I will (hopefully) use a bass clarinet for pit when a woodwind part calls for one.
Here's my pit setup for Anything Goes. This is the Tony-winning Roundabout Theatre production which is on tour at the moment. Toronto has the show for a month (we close Aug. 18th.)
L-R: Linton English Horn, Renard 330 oboe, Jupiter Parisienne Clarinet, Jupiter Artist Tenor.
I'm using Stuart Dunkel EH reeds, my own oboe reeds, Walter Grabner K13* m/p w/Vandoren V12 #3.5 reeds, Vandoren V16 T7 m/p w/#3 V16 reeds.
Untitled by Merlin Williams, on Flickr
I use the same setup occasionally (when staging room dictates something other than the lopsided rectangular one that is the norm), except I use it to partially escape from the racket that comes out of the brass. That separation and angling make all the difference in the world, and they also focus the attention of the audience on the vocalists, who work (for the most part) out of the center of the "vee'.
I'm simultaneously surprised & relieved, that you dont (apparently) play the pipes Merlin. meaning theres a chance for me yet, in some production requiring these skills
I;m also noticing a preponderance of Shure SM 57's in your pics...hmm.
Not when I'm the sound man . There are lots of tricks for making a band sound natural in the house. Also, choreographers are crazy. They always want the 'bumps' by cowbell, ratchet, and or woodblocks to be larger than life. There's no greater compliment than to have someone ask why the orchestra was not miked--because it was.
For me, if a single instrument or voice is miked, then everything gets a mic. It's the difference between miked and unmiked sounds that draws attention to the fact that there is sound reinforcement. It's better to have a mic and not use it, than to have the producing director say 'more oboe', and not being able to comply because you didn't mic up the oboe. Saying 'I can't' to a producing director practically guarantees that you won't be called again.
'This is faster than anyone has been gone before'
Seeing all these awesome setups is making me excited to return to a real city so I can do some doubling again. In a few months will be in Windsor Ontario looking for some pit work and fun times doubling. Craziest list of instruments I ever did was clarinet, flute, piccolo, bass clarinet, bari sax, bassoon & kazoo for a variety show. Man I miss those musicals - they just aren't happening in this small town I'm living in now.
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