I have to agree with Derek 100%. Having programed MLs on an
ETC Express 3 and looking at that board like a relief from the pain and agony of doing it on an Innovator 48/96 I can assure you that it can be done.
Also I think it's slightly amusing that you want groups for color and gobos (for which there are only really 2 x 9 for 18 posible colors and 6 + 9 for 15 posibilites with the
gobo) where there are more or less infinate places for pan and tilt to go. What I would do is start out with focus groups for common locations (CC, lead guitar mic,
etc...) and then you have saved yourself a whole lot of pan and tilt action. You may need to massage things some, but really when is massage not your best option.
One last note, given that you're using 5 - 10 macs I'm gonna guess you've got some kind of budget, you might look into renting a board that handles MLs in a more natural manner (
ETC Ion, any of the newer
Strand Palettes or the 300/500 series, or even something of the
Martin or HES variety if it'll fit what you're doing). Who ever is paying for it might not like the extra rental cost but if you can reduce your programing time drastically and possibly produce a even better show it might be worth it to them.
EDIT: Derek caught me
flat out and brought up a few other good points in a PM.
1) It was an
Expression 3. The '
ion' makes a pretty big difference.
2) One could argue since there are two different wheels that there are actually 6 * 9 = groups to be had instead of 6 + 9 = 15 groups. This is one of those lighting philosophy questions and if this thread goes that way I'll dive into it deeper but I bet it's been covered more than 5 times already in easily findable threads. Basically I wouldn't want my groups to incompass all of the end results (54
gobo posibilities gets crazy if you add in rotation speed) I just want all of the possible gobos at easy access and I will mix, match, and rotate as I please after that. So all I would need is 15 groups and if I want one
gobo from each wheel then I will
call the groups seperately. This is by no means the only way but its the one that makes sence to me.
3) On a final note, it was brought to my attention that doing MLs the hard way is a good practise so that if you are forced to do it the hard way later on you can. This comes down, in my mind, to the question of are you doing this show as a student or something of that nature or are you being hired to be the most up to date cost efficient
stage hand possible (I realize that for the most part we are all life time students of
theatre but I bet you can figure out what I mean).
I can only give my
point of view here because to be honest this is my first encounter with the OP (probably due to my extended absence from the board). Right now I'm paid the same no matter how long it takes me, my equiptment will be exactly the same for the forseable future, and I'm a lighting geek so I'll be looking into equiptment that I'm not using anyway cause that's the way I am. I'd rent a Maxxyz because it handles all kinds of moving lights in a stupid easy way, it's what I'm using now, and like I said I've already done it the hard way a few times.
If on the other
hand you are a high school student looking to graduate and go into technical
theatre or a college student lookin to get paying gigs in or around the city your school and the
theatre doesn't mind paying you a few more hours (something it sounds like they're willing to do already in your case) it would probably be a great idea for you to do it the hard way so that when
theatre X goes we have old board Y from the mid 90's and we want MLs for our show not only are you going to know how to do it but you are going to have a good knowledge
base as to what can and can't be done (example you'd never get 10
MAC 500's on an
Express 24/48 there just aren't enough channels).
Theres my 2 1/2 cents, you got an extra half tonight hope the info is useful and not just me blabing. PS Derek I'm sorry I went over it but I don't have my spell check right now.