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Junior Varsity
Musical Theatre Mute/DCA Automation "Granularity"?
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<blockquote data-quote="David Buckley" data-source="post: 141199" data-attributes="member: 2235"><p>Re: Musical Theatre Mute/DCA Automation "Granularity"?</p><p></p><p>The number one screwup that sound ops make is not having a mic live when an actor appears on stage, or the mic remains live when the actor leaves and something unintentioned is heard. As a lone sound op, to get this right 100% of the time, you really do have to know the show and actors backwards, and have a lot of attention to detail, irrespective if you use mutes, DCAs or push faders.</p><p></p><p>At our last outing, we drove the mutes off the lighting computer, putting in additional cues as necessary so that the mutes were always correct. This leaves the sound op free to concentrate on what is important to the show, rather than who was piling on or off stage, which is often not the same thing. Clearly, the sound op still need to know the show and the characters, as op's fingers really ought to be on the fader(s) as the actor's mouth(s) is/are opening!</p><p></p><p>We might aim for more next time. DCAs are interesting in the digital world, as they can be reassigned on the fly, and thus, for example, a backing chorus DCA could change its membership throughout the show. Computers automating affordable digital mixers really does allow small scale theatre to get their sound presentation right up there, given a bit of investment and effort.</p></blockquote><p></p>
[QUOTE="David Buckley, post: 141199, member: 2235"] Re: Musical Theatre Mute/DCA Automation "Granularity"? The number one screwup that sound ops make is not having a mic live when an actor appears on stage, or the mic remains live when the actor leaves and something unintentioned is heard. As a lone sound op, to get this right 100% of the time, you really do have to know the show and actors backwards, and have a lot of attention to detail, irrespective if you use mutes, DCAs or push faders. At our last outing, we drove the mutes off the lighting computer, putting in additional cues as necessary so that the mutes were always correct. This leaves the sound op free to concentrate on what is important to the show, rather than who was piling on or off stage, which is often not the same thing. Clearly, the sound op still need to know the show and the characters, as op's fingers really ought to be on the fader(s) as the actor's mouth(s) is/are opening! We might aim for more next time. DCAs are interesting in the digital world, as they can be reassigned on the fly, and thus, for example, a backing chorus DCA could change its membership throughout the show. Computers automating affordable digital mixers really does allow small scale theatre to get their sound presentation right up there, given a bit of investment and effort. [/QUOTE]
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Musical Theatre Mute/DCA Automation "Granularity"?
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