Sound equipment for the show was supplied by Wigwam Acoustics, which has been dealing with this event for many years.
“They provide the most amazing support,” Frost says, “Not least from Katie Worsick who plans and configures the huge RF plot and systems. The microphones we use are half wired and half wireless. This year, we used 70 channels of radio mic and 20 IEMs for the mobile performers, plus about 60 channels of fixed microphones for the choir, moat stage, boundary.”
As a long term DPA fan, Frost had no hesitation in specifying the company’s products, particularly for an event where the weather can be unpredictable.
“Continuity of sound and durability are my main reasons for choosing DPA,” he explains. “I've used DPA mics for a very long time and was, in fact, the first sound designer to use the d:fine™
e 4065 Headset Microphones in the West End. On a recent show – The Last Ship, featuring music and lyrics by Sting - I used just two DPA models on the entire rig because they gave me predictable, even sound. It worked a treat, so I always try to do that now.”
For the Royal Edinburgh Military Tattoo, Frost used d:vote™
CORE 4099 Instrument Microphones for all the stringed instruments including a 40-piece fiddle group and 18 piece string orchestra.
“They are perfect for strings and the clips are so easy to use,” he says. “We also have the largest collection of Rycote Fluffies, as it can get pretty windy on the castle ramparts. The bulk of the radio mic capsules are d:screet 4061s, while for the choirs we used d:fine™
4066 Headset Microphones, which have long been my first choice as a headset. I used the omnidirectional version because the cardioid mics were too sensitive in the wind, plus I love the open sound of the new d:fine CORE 4066 microphones. All of our mics have to be durable because they get very rough handling in all weather conditions – shows never get cancelled so the mics have to go out regardless of the weather.”