Thank you for your videos. I've moved from a very small theater with a tiny analog board and 8 mics, to now having mixed a few big shows at a larger venue on a Midas Pro2. I can really see the benefit of using a board like this with scenes. The Pro2 is great and a big upgrade from the tiny analog board but I still have to do a lot of work following the script and muting and unmuting. I try to group things as much as I can but it still can be challenging.
This is my console layout when I mix musicals, rf mics ip, dca vocal fx, dca aerials/boundaries, extra percussion ip, qlab ip, spotify ip, group metals, group toms, group kick/snare, group bass guitar, group guitars, group pianos, group brass, group strings, group rf, dca band, livestream aux, ext. video matrix, backstage aux, center monitor aux, l/r monitor aux, front fill matrix, sub aux, L/R matrix, center matrix. I keep this on my lowest layer and above these layers are the aerials/boundaries and band. On the topmost layers I have the fx. I use an edited version of the script to queue the mics "manually". I used to mix with the muted mic setup when I first started but it wasn't very good.
Separate question, would you do a video on how to use faders/deca groups? I have a ton of questions if your willing to answer then. It's hard to find people who use the same sound mixer as I do and can answer questions. If you do live streams or willing to do zoom calls I would love to pick your brain about it.
@@artisansound1807 Could you go a bit more in-depth about them? It would be great on how to set them up, and possibly how to use them for multiple things. I will definitely be checking out the scene mutings this weekend.
So do you mix using the dca faders? Because what if you have a many different characters on stage at the same time. Do you just route their mic to the same dca and work with it that way or do you mix it from the channel input faders?
Yes, I mix mainly with the DCA faders only. I route the open mics to 6 DCA faders differently for each scene/song, as needed to give me best control with just these faders. If there are any imbalances within larger groups, I adjust them with small tweaks on the channel faders. But for the most part, everything can be handled with the DCA faders.
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Thank you for your videos. I've moved from a very small theater with a tiny analog board and 8 mics, to now having mixed a few big shows at a larger venue on a Midas Pro2. I can really see the benefit of using a board like this with scenes. The Pro2 is great and a big upgrade from the tiny analog board but I still have to do a lot of work following the script and muting and unmuting. I try to group things as much as I can but it still can be challenging.
That is awesome, I've worked with the x32 and Qu-32 for about a year. I'm 100% going to start doing this. Thank you so much.
You can do it! Let me know how it turns out for you!
This is my console layout when I mix musicals, rf mics ip, dca vocal fx, dca aerials/boundaries, extra percussion ip, qlab ip, spotify ip, group metals, group toms, group kick/snare, group bass guitar, group guitars, group pianos, group brass, group strings, group rf, dca band, livestream aux, ext. video matrix, backstage aux, center monitor aux, l/r monitor aux, front fill matrix, sub aux, L/R matrix, center matrix. I keep this on my lowest layer and above these layers are the aerials/boundaries and band. On the topmost layers I have the fx. I use an edited version of the script to queue the mics "manually". I used to mix with the muted mic setup when I first started but it wasn't very good.
Is there any reason why you don't use TheatreMix (formally X32 Theatre Control) to manage your DCAs alongside muting and other automation?
separate question, theres a headphone jack on the side of the board, and i was wondering what i can use it for !!
Also I dont use the mute button. I keep all of the faders at -inf until my script tells me when.
Separate question, would you do a video on how to use faders/deca groups? I have a ton of questions if your willing to answer then. It's hard to find people who use the same sound mixer as I do and can answer questions. If you do live streams or willing to do zoom calls I would love to pick your brain about it.
Do you have any specific question about how to use DCA groups that goes beyond what I mentioned in this video already?
@@artisansound1807 Could you go a bit more in-depth about them? It would be great on how to set them up, and possibly how to use them for multiple things. I will definitely be checking out the scene mutings this weekend.
So do you mix using the dca faders? Because what if you have a many different characters on stage at the same time. Do you just route their mic to the same dca and work with it that way or do you mix it from the channel input faders?
Yes, I mix mainly with the DCA faders only. I route the open mics to 6 DCA faders differently for each scene/song, as needed to give me best control with just these faders. If there are any imbalances within larger groups, I adjust them with small tweaks on the channel faders. But for the most part, everything can be handled with the DCA faders.
@@artisansound1807 Thank you!!!