u/Ok_Cardiologist_5262

I was at a show yesterday, I don't to say whom or where as I was not working so don't know the full story. This is purely to try to improve my understanding not to embarrass anyone.
I will say it was a 40K+ audience and the system was put in by the top 3 in this country. The cable run desk to stage was maybe 60-80metres not especially long.

The support band were the second on, first band no issues, I was right in front of the desk (old habits die hard) so I could see their engineer was using a Midas M32R. Which I honestly found incredibly surprising for the size of the show.

Almost immediately the band were having issues with their in-ears and basically fighting for their lives on-stage. Band members actively talking over PA for major adjustments, it became apparent that their FOH guy was running their monitors too. Another surprise, I've never seen a show of this size not have a monitor desk.

Whilst this was going on, there was continuous channel dropouts - it would lose the guitar, or the bass. the vocals too...whilst the rest of the mix was audible. The system techs looked over his should and spoke to him, but seemed quite unmoved - I got the impression they knew it wasn't a problem with their system.

At the end of the set he walked off with the desk, the next three acts had their own A&Hs and there was no further problems.

So my question is, is this some kind sync issue that would cause this?
I couldn't work out if this was a preference issue, or budgetary but I felt so awful for all involved, it was humiliating but this definitely was not the show to cut corners with personnel or desks.

Recently saw a couple of Hayley Williams solo shows, I am not familiar with her FOH engineer but was nice to see him using a Quantum 3. What struck me is how very different her live sound is to on record - in the most positive way possible. Obviously a lot of this can be attributed to sheer musicianship, but in comparison to the record it's clear he took some artistic liberty which totally paid off.

It's got me thinking, with a record production trend that errs on "recording at home" kind of sound and questionable sounds that simply don't translate to a live show - What is your approach? Do you try to stay extremely faithful to the record, or are you making changes?

So I have written a limited TV show, completely written - fully fleshed out arc and series engine etc.

I'm not here to talk about what it is, but I have a story and premise that would be extremely commercially appealing. An earlier draft of the pilot has already gone quite far in a major UK comp.

Whilst the show is no biopic, it is based on real world experiences/stories/"write what you know" and as a result the world in which it inhabits is based on a real friend of mine. To be clear we're not talking about an Anna Wintour/Devil Wears Prada type situation. The character created takes all the best parts of their personality and there is no negativity related to them. It's more of a love letter to a time period.

I wondered if anyone had been in a situation where a project is quite far along and the need to disclose to people you care about that a version of them is in your script? How did you approach the subject, did they react badly?