Hamilton Backing Tracks and the practice of enhancing or sweetening

Dear BWW experts ...



I am on a small mobile fone right now and I couldn't do a proper search if this has been discussed before...



Does Hamilton Musical use backing tracks, pre recorded sounds and voices to sweeten or enhance performances? Inquiring minds want to know.



I read on previous threads that it is a normal practice in Bway... specifically in Follies, Phantom, Chicago, Mamma Mia....etc



I also read on the article I will reference below....the difficulties of making a soundtrack

So...on subsequent shows and tours....surely they wanna remain true to the source materials....

Are there any enhancements made and are there ever any "Live" shows these days?



What are the Union definition of "Live" performances and what enhancements are allowed?



What are the current union regulation for the orchestra....are backing tracks and pre recorded sounds allowed?



I didn't get to Google the Union manual...but I thought...I would ask here.



Any thoughts? Pardon any typos. Thnx.



And btw Pls donate to Hurricane Harvey Refugees....I did.



Hamilton link on OBCR



https://www.soundonsound.com/techniques/inside-track-hamilton-american-musical

Call me dumb but I never even gave what you are talking about a thought till I read things on here re Phantom and Mamma Mia.

But, I am one of those who believe what people tell me--why would they lie?.

So, the fact that some[all] Christines can't ALWAYS get that top note and that the Abba sound would not be there except for multiple tracks etc has only 'slightly' spoiled my theatre going experience.

So-can't answer any of your questions, just contributing my own words[not mimed].

There are many things that can distract from your theatre/film enjoyment.

I did a lot of film extra work and to this day any battle/crowd scene I am always looking at the extras and thinking 'you poor buggers', lying there covered in mud and having to do that dozens of times for 30 seconds of film-always takes me out of the moment.

We were short on 'native' extras one day as there were supposed to be at least 12 of us rushing out of a grass hut but we were down to three so we had to run out the opening, rush anound the back and run back out again---think I did that about 4 times--all with different facial expressions. Course the audience would never have noticed except I was ALMOST a naked native and very busy.

Pre-recorded ensemble vocals, especially during dance numbers, have been quite common on Broadway ever since 1976 when Michael Bennet had dancers constantly moving during the One finale. Can you imagine all of the huffing and puffing you would hear in the body mics if you had to listen to it live?

It is pretty much public knowledge that the moment you are referring to in Phantom is always pre-record.

The most famous controversy over pre-record was when Liza used it in The Act for her some of her lead vocals... so it has been going on a long time.

Most of the tap numbers in 42nd Street need to use pre-recorded vocals for the same reason A Chorus Line needed them.... and it always sounds great.

We used to have a separate singing chorus on Broadway during the Golden Age who would not do the dances but stand in the back. This was pretty much cut when Director-Choreographers came into being and when Producers learned they could get the same sound and hire twelve less people by using technology.



Equity like it to be the same people on the track as on the stage but we all know they are not checking who is on the chorus track every performance.

The sound and balance in The Richard Rogers Theater is so glorious during Hamilton that you can tell you are listening to a track when it is switched on. This is standard now and in no way considered cheating. It would sound sub-par to your ears if they did not do this and you would notice it.

Updated On: 8/30/17 at 12:24 PM

Thanks for all your feedback. I actually like the enhancements...as it gives a more robust end product!!! I juat hope I win the lottery again so I can focus and pay more attention....coz seeing it 5x is not enough!!!

Thank you Broadway Gods!

Thanks to all the creators and we can't thank you enough for keeping us #Satisfied.

#LoveLots #Muah

Mike Costa said: "Equity like it to be the same people on the track as on the stage but we all know they are not checking who is on the chorus track every performance.."

This is not correct. From the Production Rulebook:

(A) Ensemble Recordings. An Actor engaged to record material which is ensemble in nature (i.e., unrecognizable) for use in the production may do so provided that Actor is originally contracted for the duty or contracted by rider to participate in such recording and further provided that the Actor is compensated upon leaving the production at no less than one week's minimum salary if the recording is used in the production after Actor's termination provided, however, that an Actor who is unjustly terminated, per Rule 69(D), receives not less than either two weeks' contractual salary as a one-time payment or one week's contractual salary for each 26 weeks' use of the recording, at the Producer's option.

In other words, the sweetening tracks they use in Wicked can still be (and probably are) the original ensemble.