My fingers hovered over the Yamaha CL5 console in Muziekgebouw’s Grote Zaal, a packed house before me, and Radio 4’s broadcast engineer ready in their booth.
Years of load-ins, soundchecks, and shows had led to this moment - mixing front of house for the Cello Biennale’s opening night.
The purple lights bathed the stage as Nicolas Altstaedt and Thomas Dunford opened with von Westhoff’s Tourbillon. Each changeover flowed like water, thanks to Seth Mook’s orchestration backstage. Our intercom crackled with quick confirmations as artists moved on and off stage - a dance we had rehearsed but one that still kept us on our toes.
Then came Kris Berry with her quartet. Sometimes the stars align and everything just works. Her voice needed barely a touch - just a gentle roll-off in the high end to tame our PA’s brightness. The DPA 4099s captured every nuance of the instruments, each one singing in perfect balance.
The night flowed from intimate duets to the full power of Cello Octet Amsterdam. Arvo Pärt’s Silouan’s Song filled the hall with otherworldly harmonies. Each transition brought new challenges - from Nesrine’s haunting vocals to the intricate balance of Glière’s cello duets between Pieter Wispelwey and Stefano Bruno.
Above us, Radio 4’s mics hung from the ceiling, capturing not just the direct sound from our Rio stagebox but the living, breathing atmosphere of the room itself. The marriage of house sound and broadcast was like mixing two parallel universes - each demanding its own perfection.
As the Nederlands Blazers Ensemble took the stage for the finale, their energy was infectious. Their traveling engineer pushed the levels hot, but sometimes you have to trust another professional’s vision and let the music speak for itself.