Nice work. Always love to "Fader Cams" as I call it, to see how other people tackle the CG/DCA setup of different shows :) Sadly my next one will be a youth show running 32+ wl mics on a good old LS9, next one after that will be Sister Act, as it stands now on a Rivage PM3 :)
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.
i was using the same teqnique as you when i started sound mixing, but the sound director said for me to use the "on/off" buttons instead of rasing the faders. do you agree or have any suggestions?
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.
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.
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
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!
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. :)
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.
Riding faders for the principal mics is a workout! Theatre is such a different animal behind the console.
Nice work.
Always love to "Fader Cams" as I call it, to see how other people tackle the CG/DCA setup of different shows :)
Sadly my next one will be a youth show running 32+ wl mics on a good old LS9, next one after that will be Sister Act, as it stands now on a Rivage PM3 :)
totally agree with the toblerone for a mixing snack. :P
Riding the DCA's, eyes always on the cast, large coffee and sweat rag both on standby. Good job!!
Over the years people look at me like I’m crazy for that rag!, and sometimes is Reaaaally necessary! Thanks for your kind comment 😅
Super smooth. Haven't done Grease in years. I'd really love to do it again.
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 ;)
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.
I could recognise that booth in my sleep 😂 .. good ol Harmony OTS
I did wwry too before Covid. Massive show. Was a lot of fun to mix.
Yep, just the music is soo fun!, love it!
Sometimes we need that sugar push xD! Hahah😂😂😂
i was using the same teqnique as you when i started sound mixing, but the sound director said for me to use the "on/off" buttons instead of rasing the faders. do you agree or have any suggestions?
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.
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.
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
Can you explain what you do or role is for the show
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 ;)
Is there a pit band, or all track?
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. :)
🎈🤣😂🤣😂🤣😂😂
What mixer is it?
Digico SD5 😊
How do you trigger the qlab cues or are all of them on a prewait timer thing
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
ah indipendence of the seas...
This one it was Harmony ;)
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.
Soon to be replaced by AI!
Who knows, but while not, enjoy the ride… :)
rude.