Having in 40,000 [UNKNOWN] music into one live concert is not easy.
This is Time Line, a collaboration between the presets and the Australian Chamber Orchestra.
We go behind the scenes and take a look at some of the audio tech making it happen.
We've got music from you know, [UNKNOWN] right through to the present day.
And, trying to translate all of those different styles into the concert hall is quite a challenging job, and, and just in terms of the style, the way the audio's presented through from the chamber music.
You know, big churches, and, and, and it ends up in a mobile phone.
[INAUDIBLE] music today presented by mobile phone.
[INAUDIBLE] the ultimate delivery format also it seems.
So to translate that to the concert halls, just dynamics alone.
The show uses a bunch of different speakers to recreate sounds from past and present.
We put in quite a large PA in the room.
We had a little gramophone horn down the front, which is acute introduction for, for a bit of jazz in the 1920s year.
And so we've got a very modern console, which makes it possible.
every, every item, almost every item, every piece has a completely different balance requirement.
So the, the press is [UNKNOWN] I listen to the rehearsal.
Set it at an appropriate balance and store it in the computer.
And then so during the show, I recall those settings for each item.
And then I sit on the masters, I'm just, I basically got the high strings, low strings, woodwinds, choir.
And so during the actual show I just recall the scene and balance those components.
The biggest technical challenge is just the sheer difference and variety in the program.
So every item has got different followers, different focuses, and, you know, vastly different balances.
You go from jazz to classical to punk to, you know, Gregorian chant.
And it's all gotta sound, it's gotta be true to itself.
And requires entirely different mix setup.
It's not just classical music though.
There's plenty of contemporary stuff from artists like Beyonc