Stumbled Across This Video
- Thread starterEboy87
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Jay Ashworth
Well-Known Member
It's a Soundcraft Vi6. The PAC here has it's smaller brother, the Vi4 at FoH. It can be very fun.
I'm curious as to why they were mixing everything from the VCAs instead of using their respective channels for individual mics. I get it for the band mix, areas, and such, but it seems like a lot of work to switch between scenes just to fit everything on those 8 faders. Especially considering they've got about 32 other faders they can put all of the individuals. But maybe that's normal. I've just never mixed a large show on any large digital like that.
I'm curious as to why they were mixing everything from the VCAs instead of using their respective channels for individual mics. I get it for the band mix, areas, and such, but it seems like a lot of work to switch between scenes just to fit everything on those 8 faders. Especially considering they've got about 32 other faders they can put all of the individuals. But maybe that's normal. I've just never mixed a large show on any large digital like that.
alyx92
Active Member
Eboy87
Well-Known Member
chausman, you'll never theatre at that level mixed on the channel faders. Everything goes through VCAs. I can't give you a bulletproof reason why, it's just the way I was taught and the way it's done. For me, it's easier to use 8 fingers at the VCA section for busy scenes, than having to hunt for a channel and almost fall over trying to reach it. Everything shows up on 8 (or however many you have) VCAs right in front of you, so you never have to look up from your script.
The thing I'm curious about is they're using automation to pull out the faders of any RF not assigned to the VCAs. Maybe it's because the guys who taught me used a J-type without motor faders, but I'd never considered only pulling them up on a per-scene basis.
Yes, it's a Vi6. Soundcraft (or Studer, can't remember which) had a promo video talking about using a Studer Vista on the West Side Story revival, and a Vi6 on Legally Blonde. I'm on a show currently with a Vi1 at FOH. Nice desk, just wish the recall safe was a bit more flexible.
Line by line mixing is fun. Even more fun when the actors get their lines correct(ish).
The thing I'm curious about is they're using automation to pull out the faders of any RF not assigned to the VCAs. Maybe it's because the guys who taught me used a J-type without motor faders, but I'd never considered only pulling them up on a per-scene basis.
Yes, it's a Vi6. Soundcraft (or Studer, can't remember which) had a promo video talking about using a Studer Vista on the West Side Story revival, and a Vi6 on Legally Blonde. I'm on a show currently with a Vi1 at FOH. Nice desk, just wish the recall safe was a bit more flexible.
Line by line mixing is fun. Even more fun when the actors get their lines correct(ish).
Dionysus
Well-Known Member
I was always taught to run a big musical off of VCAs so you can grab a lot of channels at once, and run handles that are far away at the same time. The trick is for each scene setting the VCAs accordingly. It can make a huge difference.
Now I learnt on a Midas legend not a digital console but the principle would be the same. Push the band at once, perhaps reach over and bump up one instrument, control all the different playback sends globally, keep who should be in the forefront up etc. etc. etc.
Also helps as you may have to "mute punch" in some scenes as people who are wearing mics get too close to each other, and to keep track as people enter and leave the stage.
Digital or something like the legend also allows scenes to mute channels, re assign VCAs, change pre/post, etc.
Sent from my iPhone using Tapatalk
Now I learnt on a Midas legend not a digital console but the principle would be the same. Push the band at once, perhaps reach over and bump up one instrument, control all the different playback sends globally, keep who should be in the forefront up etc. etc. etc.
Also helps as you may have to "mute punch" in some scenes as people who are wearing mics get too close to each other, and to keep track as people enter and leave the stage.
Digital or something like the legend also allows scenes to mute channels, re assign VCAs, change pre/post, etc.
Sent from my iPhone using Tapatalk
Jay Ashworth
Well-Known Member
bishopthomas
Well-Known Member
I haven't mixed theatre in a while, and the only digital I've used was an LS9 where there's no need to change layers. But for me, the way I like to mix theatre requires a certain amount of muscle memory. How is this possible with the current layer based digital consoles? I hate the idea of programming each performance scene as a new console scene just to bring the appropriate channels to my fingers. It takes away the "feel" of mixing and turns it into a labor of programming. But that's just me.
Jay Ashworth
Well-Known Member
Did you watch the clip, Tom? 
Eboy87
Well-Known Member
That's what preproduction/shop days is/are for
In all honesty, mix however you feel comfortable. I've done plenty of theatre on an LS9. But when you have 30 inputs from the pit, plus 20 channels of RF, that automation sure looks better and better. There's various clips on youtube of interviews with different A1's on different Broadway shows, if you're interested in a bit more of mixing technique. I just saw one from Memphis and started using one thing from it on this show (bumping the VCA at the end of lines to get that last bit of sibilance from the last word), and it makes quite a bit of difference. I'll see if I can find that video...
