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Thread: Post your pit setups

  1. #26
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    We actually perform in a loft above the stage. It's locked, and most of the other personnel in the theatre have never been in it, let alone know how to get in.

    It's not a perfect scenario, any more than a locker is.

    FWIW, if you really wanted to steal something valuable in the loft, you'd be far smarter to swipe the twenty or so Neumann mics that are left in position 24/7. Better return, harder to trace, and much easier to sneak out.

  2. #27
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    Quote Originally Posted by Merlin View Post
    We actually perform in a loft above the stage. It's locked, and most of the other personnel in the theatre have never been in it, let alone know how to get in.
    It's like the secret musical tree house. Way cool up there. :o)

  3. #28
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    Thieves often bypass more valuable things while they are taking something bright and shiny. Unfortunately, that doesn't help if you are the one who owns the bright and shiny object...

  4. #29
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    Quote Originally Posted by Merlin View Post
    We actually perform in a loft above the stage. It's locked, and most of the other personnel in the theatre have never been in it, let alone know how to get in.

    It's not a perfect scenario, any more than a locker is.

    FWIW, if you really wanted to steal something valuable in the loft, you'd be far smarter to swipe the twenty or so Neumann mics that are left in position 24/7. Better return, harder to trace, and much easier to sneak out.
    Oh, I'm so sorry you're not a part of the production. Locked in a room above the stage...

    Yeah, you KNOW I'd go for the mikes...
    'This is faster than anyone has been gone before'
    -George Tirebiter

  5. #30
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    Here is my setup from THE PRODUCERS, which just closed this weekend. My book was Reed 3: Flute, Eb and Bb clarinets, and tenor saxophone. I also covered some of the baritone saxophone stuff out of Reed 5, and the Eb clarinet part on flute and piccolo.
    Attached Images Attached Images
    -Mike S.
    Recorders(SSAT), piccolo/flute/alto flute, oboe, clarinets(Eb/Bb/bass), saxophones(SATB)

  6. #31
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    Padded chair, nice. 2 point deduction for not having the drink holder on the music stand.

    Luv the wood pegs too, so old school.

  7. #32
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    I don't usually use the wooden stand(unless my gigs call for oboe), but didn't want my clarinet or flute to hit the side of the music stand. I did cave and get one of those little shelves that clip onto the music stand, and used it for my piccolo, tuner, and to set mouthpiece caps on. THEN I was able to get the wooden stand out, and then use the stand my picc was originally on (Hercules flute/picc/clar stand) for clarinet/flute =]

    As far as a cup holder goes, I never even ended up using that water bottle when in the pit lol.

    I think PRODUCERS was probably the best show I have done so far, but HAIR is definitely a close second!
    -Mike S.
    Recorders(SSAT), piccolo/flute/alto flute, oboe, clarinets(Eb/Bb/bass), saxophones(SATB)

  8. #33
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    When I play with practice over an hour I lose a *lot* of water with my deep diaphram breathing, so I drink water even though I don't feel thirsty. Keeps my legs from cramping too when I sleep at night.

  9. #34
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    Quote Originally Posted by Merlin View Post
    Next up is my setup from A Chorus Line.
    That opening is so difficult...

  10. #35
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    Mmm... Secret Garden horns... I got the call to do the show once. I called back the next day to say yes, but turns out they had had two contractors calling players, and the second contractor had already given the gig to one of his callees before I called back.

  11. #36
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    My setup for the 2012 Stratford Festival Production of The Pirates of Penzance:


    pirates pit setup by Merlin Williams, on Flickr

    And here's the view from the side, with my guitar in the shot:


    pirates pit 2 setup by Merlin Williams, on Flickr

  12. #37
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    Getting more and more high tech when compared to your setup years ago.

  13. #38
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    technically not a pit setup but onstage, for our rock opera 'Le Mirage/Dead city Philly"(based on Rodenbachs 'Bruges la Morte')



    (l-r)
    dual high D whistles
    English Horn
    Tenor Sax
    A-440 Highland pipes
    Ciaramella in G
    Sei Palmi Zampogna
    (not pictured; Full D Uilleann pipes (behind me by the amp)]

  14. #39
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    ...by far a serious contender for the title of the most original setup in the Western hemisphere!

  15. #40
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    I'll admit the zamps a bit of an indulgence- only used on one number, but it s at a crucial point in the plot...

  16. #41
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    I always like seeing people's pit setups here. This summer I played for my community theatre production of the Wizard of Oz (clarinet/bass clarinet/baritone sax). Now thinking about it I should've taken a picture of my setup and posted it on here! Maybe next summer if I'm able to play in pit for the summer musical. Otherwise, love this thread!

  17. #42
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    An easy pit for the "In the Mood" show this year. I only have bari and alto sax. My wife Suzy has alto sax, clarinet, and piccolo. Yes, I even have a peg for the pic too. She was impressed.

  18. #43
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    I've been asked to sub on bass clarinet for a befriended concert band's winter concert as well as for a competition next year.

    I realize that's no "pit work" in the stricter sense, but probably as close as I ever get as a non-pro. (we do have stage lamps, though)

    I'll post a pic of the concert if anyone's interested.
    Ben

  19. #44
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    I'm playing a Christmas pageant with a cast of thousands, or almost. Instrumentation for me is unusually simple - Clarinet, and baritone saxophone. The clarinet parts are vicious, but i've played some of them in years past. The baritone parts are typical contemporary Christian music (think funky). Overall, it's not too stressful, even on days with 2 shows, and the orchestra is good. The show itself is awesome, and I almost never use that term. The choreographers are brilliant, the organization is world-class, and the talent is excellent. You can see last year's pageant on Christmas eve. It's broadcast all over the world.
    Check Youtube for my videos of bass sax, contrabass sax, tubax, and soprillo:
    http://www.youtube.com/user/saxtek

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  21. #45
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    Got some nice pics from a bus buddy at the show last night. Liked this one of my setup a lot.
    Attached Images Attached Images

  22. #46
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    This is my current pit set up for City of Angels that I'm playing Reed 2(piccolo, flute, clarinet and alto saxophone) for. I also used my soprano saxophone for some tough clarinet licks, as well.
    060413181702(1).jpg
    -Mike S.
    Recorders(SSAT), piccolo/flute/alto flute, oboe, clarinets(Eb/Bb/bass), saxophones(SATB)

  23. #47
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    I'll be playing at my local theater again this summer. I'll be playing for 9 to 5 on Reed 2 (Flute/clarinet/bass clarinet/tenor and bari sax). The book is clarinet/tenor/bari heavy with bass clarinet and flute parts few and far in between. I'll be playing the bass clarinet and flute parts on my clarinet. I'll also be posting a pic of my setup as well (and maybe get on to learning flute)

  24. #48
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    I just got a call to play reed 3 (flute, clarinet, bass clarinet, baritone saxophone, bassoon) for a production of Young Frankenstein, so I'll post a picture of my setup for that in the pit when that starts.

    There are only eight and a half bars of flute, and we cut that part of the song flute gets used in, and I don't have a bassoon anymore, so I've been able to cut my call of horns down to just clarinet, bass clarinet, and baritone saxophone (the bassoon parts are double staved for bass clarinet, and goes down to low C on bass clarinet, so hopefully I'll be able to afford to purchase myself a decent low C bass before the show opens) for now. I might borrow my friend's extra bassoon for the show, too, as I don't own one anymore. It's really a well written book, and I've enjoyed the past few rehearsals that we've had for it so far.
    -Mike S.
    Recorders(SSAT), piccolo/flute/alto flute, oboe, clarinets(Eb/Bb/bass), saxophones(SATB)

  25. #49
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    This was my Legally Blonde pit setup when my high school did it back in April (I was on Keyboard 2). I actually started a thread on this site awhile back when I complained that I didn't get one of the reed parts. And to be honest, I wasn't satisfied with the outcome. The show wasn't very good. Poor direction and a band teacher (the conductor for this musical) who kept beating herself by saying she was the lazy peon of the bunch were the main factors. The actors on stage weren't better either. Most either weren't confident of themselves or just awkward. On a final note, our pit consisted of 3 keyboards, bass, drums, and guitar/violin. "Keyboard 1" was played by the conductor and used the piano/vocal score (?), and me and this freshman girl played Keyboards 2 and 3 respectively. The girl played so soft or not at all, and sometimes I even forgot she was even in the pit with us! Well, I've rambled and ranted long enough. To make a long story short, Legally Blonde was terrible and better direction and confidence would've really helped the project succeed.
    30570_589886581029741_747865515_n.jpg

  26. #50
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    Unsure performance is often an issue with high school and college player, those who are unsure of what they are doing, and who retract back "into their shell" as a result. Timidity is nothing new, and everyone has experienced it at one point or another.

    We saw a performance of Threepenny Opera at Northwest Florida State University (or whatever they call it these days) where the pit had been filled with the proper instrumentation, but where the keyboards, trombone and drums were the only "sure" players. Extreme balance problems, and the conductor was so busy minding his new (and showy) keyboard "dude" that he paid little or no attention to anything else. But, what are you going to do?

    (They also had a leggy blonde babe filling the part of the Streetsinger. Very attractive, had all the right movements for being on stage, but who couldn't sing a lick. I imagine that she was someone's secret student girlfriend - there were no other reasons for her being there other than for her looks.)

    A couple of years ago, we saw a production of Chicago where the Reed 3 babe (also an attractive woman, right up there on stage) completely blew both of the baritone solos and much of the bass clarinet work. This one particularly pissed me off, as I had aced the parts as a young twenty-something when the original Broadway touring company had come through Saint Louis, and I pretty much sight read the whole book.

    (But, the worst thing is that she is apparently a pet of the conductor (also a woman), as we have seen her in a couple of other productions (where she did better). It's all I can do not to volunteer that I would bring my horns along and play in their pit for free (the Pensacola Little Theater Company probably could use the financial help).

    When I play alongside student performers, I try to urge them to play out (the biggest problem) and to hit as many of the notes as they can. Playing through performance anxiety is something that will come in time; practice makes perfect (or nearly so).

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