that s not difficult to do. it becomes difficult when that sound source is moving - with respect to the audience. and to amplify that, the amplification has to be done in a way that matches the time domain or the sound arrival- from the acoustic source. the reinforced source has to follow. from our point of view, we need to know within about a ten millisecond error where each- microphone is going to be, and we need to be able to track that. now, there is a trackingl system that we re using, so whenever we put a microphone on somebody, we also put - a tag on that person, - and then we can track them in three dimensions. we re not using that live - during the show so, instead, we use it as a programming tool. this is the software . that we use to do that. each one of these dots i represents a microphone. anyone with a microphone has a tracker. so this is where the musicians are split into two lines. - they started at this point, . they moved to this point over the duration of this
of course, instruments like the pipes and others are really loud, but there s still lots of microphones and amplification and things. you re right, pipes are loud, but this is a big space - and we re outdoors. so the sound of the pipes, - even when there s 100 of them, can need reinforcement. that s not difficult to do. it becomes difficult when that sound source is moving - with respect to the audience. and to amplify that, the amplification has to be done in a way that matches the time domain or the sound arrival- from the acoustic source. the reinforced source has to follow. from our point of view, we need to know within about a ten millisecond error where each- microphone is going to be, and we need to be able to track that. now, there is a trackingl system that we re using, so whenever we put a microphone on somebody, we also put - a tag on that person, - and then we can track them in three dimensions. we re not using that live - during the show so, instead, we use it as a pro