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tenor_singer · #10 (**permalink**) October 13th, 2004, 11:07 AM

Quote:

Originally Posted by blsmn

Quote:

Originally Posted by tenor_singer

I'll be honest... what I am trying to stop is the struggling student at the desk trying to get everybody's microphone up to level. Even with excellent cues, I still have times where a line goes by before the microphone comes up. It wouldn't be an issue, but we do our shows in a gymnasium and the acoustics are horrifying.

Thanks again for your response. I hope this information helps you with further advice.

Yours in theater,

Tenor.

Tenor -

The learning curve and accessability of functions on a digital board are definitely something to think about. I also had thoughts recently about digital vs. analog when purchasing a new console, and when it came down to it I went for analog. The points made concerning actors volume, placement, and the general difference betwen shows from night to night (especially high school productions) are very valid - I just felt that digital would put me too far away from functions that I knew I would need instant access to. I ended up getting an Allen & Heath GL4000, which I think you should take a look into because of your above statement. The GL4000 not only has mute groups, but it has 128 mute scenes also. Need to mute 6 lavs, unmute 12 others, mute the boundries and unmute the hanging mics? Program it into the mute patch before the show (same as a light cue), push one button, and it is done. I have done theatrical sound for 15 years and struggled at times with the muting/unmuting of mics during large shows, and after the first show I did with the GL4000 it was like a major weight had been lifted off my shoulders - I don't know how I ever lived without it

Now I can concentrate more on how the show sounds than gearing myself up and worrying about the next 16 channel mic mute sequence. One button - done. Life is good :D

Thanks for the advice. I will look into that board.

Tenor.