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Basically I do book mixing, as you can see I do have multiples VCA base on each performer/character who deliver those lines and base of the way/speed/cues words, I will be changing snapshot and those will be triggering Sound Effects/Click/Timecode to the Orchestra start to play. Levels of this kinda of show hast to feel loud enough to reinforce their voices without spotting the line array (Basically feel you are watching a live movie). Also, live mixing the orchestra (correcting premixed levels base on musicians, while you are watching the singing/lines don’t get buried for the music) That is during the show, without showing the presets and sound checks before the actual play. Basically you are the junction box between performers/orchestra/pace of the show and so on. I tried to simplified and hopefully sound as humble as possible. Let me know if that clarify, maybe my english is not good enough!. Hugs!

@@bluewavesmastering2284 oh so vca are sort of like the microphones Thanks for explaining And did you work on the tour of it or just London

@@DanielMazzthose vca can contain 1 microphone or from time to time the ensembles. And this video corresponding a play on board of cruise ships

@@bluewavesmastering2284 thanks for explaining 😊

@@DanielMazz anytime ;)

That’s depend, I don’t like that way because if the performer is not consistent to deliver those line at the same tempo alll the time, you will come late or earlier… so, difficult to approach. Personal I like to ride those fader. Also, riding those fader will give you skill that all applicable to any other mixing, such as band - orchestras - comedy, you named.

I’m very lucky, I have the possibility of working with Digico SD Series for the last 10 years. And is always being a pleasure

Digico SD5 😊

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. :)

Yep, just the music is soo fun!, love it!

It is a fun show, the one that I miss the most is we will rock you, just music pay by itself!. Thanks for your comment sir ;)

Over the years people look at me like I’m crazy for that rag!, and sometimes is Reaaaally necessary! Thanks for your kind comment 😅

Hey! Basically you assigned a MIDI note to the SNAPSHOT at the Digico session. Then same note on QLAB - Trigger section and works.

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.

I’m a Southamerican sound engineer, and I still cannot believe I’m able to run those system 😂, and over the years I’m still not that good…

Well, is a theater musical that contains only song of Queen. I do believed is fair to say is rock enough, isn't it?.

Who knows, but while not, enjoy the ride… :)

rude.

Uhm, Big question: Concerts you want to make sure everything is there, feel the power off the speakers, etc. on this kind of show you want to make sure sound "almost" like a live movie, dynamics is extremely important and levels (when it come to dialogs) are coming out from the speakers enough to support the further audience, but still have a feeling/perception is the natural voice of the performer. Same with the orchestra, depending what is going on at the scene, you want to make sure Dialog are above orchestra or if is a dancing moment, blended as a full song. When it comes to EQ or Compress, well are general rules, in this particular case I do have 32 DPA 4066 (omni directional) so your EQ is going to be rule by the feedbacks, you want to EQ base to avoid feedback first, then quality sound. Of course this will happen right after Mic positioning, this one is head worm. Compression, mainly at the orchestra when is need it, and couple of subgroups, just to help to lift some low level, but nothing crazy. I do not use gates over all. Well Fx, just the one belong to DigicoSD Series, I'm not fan of WAVES at all. Hopefully this will answer your questions. Thanks for taking the time to reach out. Good luck!

Meyer Sound - M’elodie sir ;) with 2 subwoofer of double 18 700hp.

Yep, but lyrics are slightly change to match with the story of the show.

Tell le about it, the show is funny but also is all QUEEN, I haven’t done any other show that makes me feel as excited to run it as that one.

@@bluewavesmastering2284 yea such a good show, but this year my school is doing beauty and the beast. Not the best for songs lol

It likely is trigger by OSC or midi through lighting.

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.

@@Isaac-qg4shIn this case MIDI but yep you were right ;)

@@bluewavesmastering2284 interesting, thanks for letting me know

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

Peter Grant - When you were my girl. Thanks for watching 😊

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.

Yep, I think that is the best part, when you are able to merge with the orchestra and do our craft :)

Yep, 10 piece orchestra - 25 mic performers - plus tracks and SFX.

This one it was Harmony ;)

Sorry I just saw this message, go for it, practice your script and have fun, you will never be ready and never will be. I'm still failing so have fun!

To shutdown the entire power booth in case of an emergency :)

@@bluewavesmastering2284 What cases would it be used? An emergency like a technical issue where it causes physical issues or what? just curios haha

@@Deityyyyy can be anything, buuut mainly if there is an electrical fire that involve the equipment. So you can shutdown the entire booth

@@bluewavesmastering2284 Makes sense, thanks!

I haven't work with Yamaha in a Musical Theater, so I won't be able to do a fair comparison, I did work with some QL and CL and the biggest concern that I had it was the motor of the faders and how wide are the "cap" of them. But most probably is because I have been working with Digico for the last 8 years. I was not able to choose my system, but to be honest no need, I use a SD7T with Meyer Line Array and a whole of outboard gear as per requirement. Also mic are DPA 4066. If at any time I do need to choose some system I will ask the same. Thanks for asking.

Uhm, that depends, I am in a indoor controlled environment theater, so is "easy" to do just book mixing. It just make sense when you finally learn the show and go with the performers line time. Actually when you get the muscle memory and you stopped to watch the script the show just go. Also in that run I had all performer with DPA 4066.

I haven't sorry, I was given a paper copy for that show.

@@bluewavesmastering2284 all good, do you know any names of script holders that i can try?

@@emerjins3923 Uhm, sadly no, because this theater is in a Cruise Ship. Let me see if I can contact that ship and get the PDF and the autorization to share, if there is any.

@@bluewavesmastering2284 sorry it’s ok, i bought a treadmill book holder and sawed off the bottom of it

@@emerjins3923 Sweet... sorry for delay, I am at sea xD!... good luck!

Running a show doing “book mixing” is such a different feel. Also will give you so much new skill to other live mixing type of show. As soon as I can I will upload a new video with my phone right above my hands for a close up. This time was mixing Grease the Musical. Thanks for you comment;)

Your welcome and thanks for the reply.

To be honest any DiGiCo is sooo versatile that helps A LOT!... thanks for watching. Currently I am mixing Grease in a SD5