Amazing show, good dynamics, vibe, etc!. Disclaimer: All right belong to the creators/designer/producer of the show, just grateful to have a chance to mix this amazing show.
I tried this once. Major interference from radio mics turned it into a nightmare. And I wasnt aloud a Rehersal and hadnt set the system. Absolute nightmare. Stuck with LX ever since.
Hello! Super sound! Im curious why this fader technique still exist. I mixed musical type of show and i followed the script too but once i learned the right fader level its stored in a snapshot as well as the mute/unmute for the character on stage and off stage. I can still adapt levels if the actor is different or has a problem but the starting point is this. At the end by doing this i can adjust eq and a lot of parameter if needed when a dpa is off axis and use my ear for sound too. Isn't this technique taking you away from doing sound ? Especially on a console like sd7
Hello!, I do have those mute/unmute underneath the other layers, especially with the live orchestra. In this particular case I do trigger SFX trigger by midi on snapshot and also I do trigger click & timecode for them starting to play, some fader inside of the control groups will have changes in between. The live orchestra is already pre-mixed and All EQ are being done during soundcheck and/if there is a DPA out of axis, I do have an A2 who is following all show and adjust/clean/blow out mics when they go back to the wings. This particular perform has 27 performers, and will be very tricky to do sound while playing live, but when you know the script you know which places you can do emergency EQ and where you can't. :D -Thanks for watching and the question.
@@bluewavesmastering2284 oh yeah that's huge! And the fader on center bank are cg so? And just why lowering fader alltheway down when actors are aware of when to speak and when not? To prevent feedback with omni mic ? Or to be sure nothing get trigger at the wrong moment?
@@alexmdrful hey!, all of them at the center section are CG with performers faders and at the last 4 fader will be FX - BGVs - ORCHESTRA - DRUMS, I bring all of the down just to keep the scene clean, out of breathing or anything
There is a full orchestra - 9 musician and a second keyboard player who is the conductor. On top of that I did have extra instruments tracks and SFX. :)
thanks for the insights. i was wondering, why you do not use a dugan to avoid spilling and comb filterung within a scene...with the advantage of reducing the workload on fader movement? Can you please give us a pro and con...
Hey!, to be honest I did know about Dugan technology. I did my research on that looks great. From my side, I learn this technique and I do feel confident. About comb filtering or any spilling, the level that I manage on those mixes are barely into the speakers (dialog) and with the live orchestra is very difficult to hear those. Pro's on tihs technique, you are part of the show as another cast member, so you can react in real time on what is actually happening on stage. Also one of my belived is try to do shows more human, as I always say: "...if you want perfection everytime, just play a movie..." Con's: You have human error on coming late in a line or maybe not be a the right level, usually this issues you will have them right at the beginning of your fader rehearsal, but once you create your "muscle memory" on your finger everything goes smooth. Hopefully that will answer your question. Thanks for watching.
QLAB is trigger by MIDI at the snapshot. At the moment I recall the snapshot either fire selected or pressing (next) will send the MIDI note to be trigger.
Hey! What makes you want to ride the faders like this, i'm curious. Why not just mute/unmute for the duration of their lines? Surely you'd get different gains each time you bring up a fader, plus if the performers (for whatever reason) go off script you're not prepared for it. My workflow as a theatre sound tech (venue depending) is typically to unmute when performers are on stage and noise gate them as to not spill track/other lines. Big up the Toblerone :)
Uhm, surely mute/unmute + gate will do the job as well. In my particular case I do learn the script by heart. Also my muscle memory on my fingers allowed me to be couple of dBs below and be live right before the line is about to be perform. Personally I rather correct from less level and add more. Also I’m not fan of using gate unless is extremely necessary. I might be wrong but over the years I never experienced any show that need to be using gate at any part of the show.
