* Line-by-line fading is important if you want the cleanest possible sound out of the show. This means turning each
fader up as the actors says or sings his/her
line, then turning it down when someone else is talking or singing. To do this, you have to number each
line in the script with the
fader number and, until you memorize the
play, will have to place the script in front of you and follow it.
- I've never seen mutes used in a
play in place of fading. I've seen channels muted for actors who are not in a particular scene ... however muting is primarily needed to control noise floor. If you use muting instead of fading you risk "chopping" the sound, and you muck up your control surface with faders all over the place ... hard to find the ones that are being used at any given
point in time.
* If your board has the capability,
VCA (DCAs in digital boards) are very useful because they can reduce a set of 20+ wireless down to a manageable bank of 8-12 faders. Between your two hands you have 8 fingers that could be working at the same time on faders that are positioned pretty close to each other. A
VCA board with scene snapshots can place whatever channels are needed on those
VCA faders for each scene, so your main work is on those faders and nothing else. Your script would be numbered for the
VCA.
* However if you don't have
VCA/DCA capability, then you're at the mercy of how well you
lay out the channels, and it is up to you to try to group channels together when relevant so that you can work them in an optimal manner.
* Once trick I've been using is to use
masking tape to "group" adjacent faders. So, for example, my group of Chicago background singers this past weekend, I taped the four faders together so I could operate them all with one finger.
lay the tape out across the top half of the faders, then fold over the top
edge of the faders. You get a fairly stiff "bar" of tape. Makes a huge difference when I am juggling several other individual faders at the same time. I've taped as many as five faders together for specific scenes. When I do this I make fine adjustments to individual channels within the group using the
channel input
trim. And when the scene requiring grouping is over, I pull the tape off and stick it out of the way somewhere so I can use it again.
So, my two suggestions are --
1)
fade line-by-line if you can
2) reduce the number of faders needing simultaneous operation at any given time