Is there a way to save to a midi drive or something and load a different set of cues at intermission?We have this new console. I have a student designer learning it for our upcoming musical. She says there are only 99 scene memories. Can this be true? Our first act has over 70 cues. Thank you.
We have this new console. I have a student designer learning it for our upcoming musical. She says there are only 99 scene memories. Can this be true? Our first act has over 70 cues. Thank you.
I can see using fader groups in a rudimentary way to get DCA functionality, in which case you can probably end up with a couple hundred snapshots in a two act musical.
I'm asking if you're using scene memory to physically change the position of the faders song-by-song in your musical. Typically in a musical someone is actively mixing the show with their hands, and you use scene memory to change assigns, mutes, EQ's, etc. Every now and again I'll use scene memory to change band levels to the master band fader under my hands on a per-song basis, but never with actor vocals.Can you be more specific?
Like he wrote. What you can do to simplify live operation is have board scenes setup to match the active channels up on the faders so that only the currently active faders are up, providing a visual guide as which channels to focus on in each French scene. This helps considerably in knowing which channels to focus on.
DRankin, the consensus is right here. Use scenes for the big changes; use faders and mute buttons for basic dialog switches and mixing. Scenes are a two-edged sword, and the Yamaha scene workflow doesn't support enough inheritance and granularity to manage updating multiple cues.
If you have more than a few scenes, you're probably doing it wrong.
Well, unfortunately not everything can be as simple as next, next, next. Hopefully your director will be understanding.I appreciate everybody's advice. The issue is our sound designer is the only student with any sound experience. She will be running the show through rehearsals and for the first performance, but will then miss two performances and be there for the final performance. Our sound crew who will be filling in for her will not be there Until tech week and would only have about one rehearsal to learn the show. The director is adamant about having all Mike's live one second before they are needed and completely shut off if any actor leaves the stage. To complicate matters, the orchestra is in a different room and will be mixed live. The house has only 140 seats and the variables are fairly predictable.
I appreciate everybody's advice. The issue is our sound designer is the only student with any sound experience. She will be running the show through rehearsals and for the first performance, but will then miss two performances and be there for the final performance. Our sound crew who will be filling in for her will not be there Until tech week and would only have about one rehearsal to learn the show. The director is adamant about having all Mike's live one second before they are needed and completely shut off if any actor leaves the stage. To complicate matters, the orchestra is in a different room and will be mixed live.
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