was good enough but we made a huge effort to equip our country with what was necessary. sometimes you didn t have ppe, what was necessary. sometimes you didn t have ppe, there what was necessary. sometimes you didn t have ppe, there was - what was necessary. sometimes you didn t have ppe, there was an - what was necessary. sometimes you didn t have ppe, there was an issue | didn t have ppe, there was an issue at times, was there not, in relation to ppe not being culturally appropriate? people with beards, religious outfits, things like that. or you wear that? that religious outfits, things like that. or you wear that? or you wear that? that was not excluded to or you wear that? that was not excluded to me, or you wear that? that was not excluded to me, i or you wear that? that was not excluded to me, i was - or you wear that? that was not l excluded to me, i was concerned or you wear that? that was not - excluded to me, i was concerned that everybody should have the
to do a show like this, it would look nothing like this. it s too narrow. it s on a hill. there s no straight lines anywhere. it s really quite a tricky space to work with. from our point of view, it s very difficult for us to put a loudspeaker system somewhere that isn t in someone s view. we do a lot of olympic opening ceremonies, that sort of thing. we deliberately design the show so that there s a technical area, a zone where there s no creative activity, and it s out of the view of the audience, where we can place loads of technology that doesn t get in anyone s way. we don t have that option here. 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 t
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