The art of sound reinforcement of a symphony orchestra, interview with Óscar Montiel

We asked this question to Óscar Montiel, a graduate in Show and Performing Arts Production from the Claustro de Sor Juana, who was in charge of the sound system for the recent concert with music by Disney that the Orquesta Sinfónica de Minería offered at the Auditorio Nacional. 

What is the difference between sounding a pop band and a symphony orchestra?

There are several differences among which we find the following:

A pop band has a much smaller instrumental endowment than an orchestra. Pop bands use electronic instruments, orchestras do not use electronic instruments. The instrumental staff in an orchestra can exceed 100 people, a pop band will only have between 4 and 7 members. Therefore the orchestra needs more microphones than a pop band.

What are the major challenges, at the audio engineering level, to sound a symphony orchestra concert in a solvent way?

Have the right tools to make your work as professional as possible; such as:

• Equipped with high-end microphone.
• High-end audio console.
• Enough time to microphone the entire orchestra.
• Enough time to do a sound check so that the conductor/orchestrator is comfortable with the audio mix you have (which should sound as close to his or her living room as possible).

Could you describe a little bit of the step-by-step to sound a symphony orchestra?

1. To know the musical endowment
2. Knowing how many instruments there will be
3. Make a selection of the microphones to be used for each instrument.
4. Make an input list (list of channels to be used)
5. Having a mixer with enough channels to accommodate an orchestra.
6. Have high-end professional audio equipment to amplify the sound of the instruments.
7. Enjoying concert music.

Could you share with us your experience working with the Orquesta Sinfónica de Minería?

The conductors I have worked with have been very professional. They know that they are not in a venue suitable for listening to concert music, so they know that there are challenges for the orchestra to be heard as well as possible in any venue and with the technical elements they have.

It was my turn to participate as microphone operators in the presentation of the Orquesta Sinfónica de Minería in the 100 years of Disney show at the Auditorio Nacional, an enclosed and very large venue. One of the biggest challenges was to have specialized microphones so that everything could be heard as well as possible. This time we had high-end microphones and audio console also high-end, achieving a more enjoyable work for the audio operator and with highly favorable results.

How is the sound balance achieved so that all the instruments harmonize homogeneously?

You have to have a lot of musical culture; that is: know the sound of each instrument, the characteristics of the sound of the instrument and the performance of the instrumentalist. Know how to understand this language and the behavior of the microphones in the sound amplification process. Concert music is made to be heard as natural as possible, without so much processing. It should be heard as natural as possible.

Is there any instrument within the symphony orchestra that is particularly difficult to sound due to its timbral characteristics?

Harps, violins, violas or guitars are instruments that have resonance, so you must know the position of the microphone, the selection of the microphone and the intensity with which the performer plays.

How is an audio engineer technically trained and specifically what does he/she need to know to be able to work with symphony orchestras?

First of all, the characteristics of the sound, the operation of the microphones, selection of microphones, and the selection of a mixer that gives the performance so that with these tools you can achieve a sound as natural as possible, and that what I hear is pleasing to the ear of the public. If I listen badly, the audience will perceive it. The training is given by the practice "the hours of flight".