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Junior Varsity
X32 Discussion
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<blockquote data-quote="Paul Johnson" data-source="post: 90699" data-attributes="member: 2643"><p>Re: X32 DAW/OSC Questions</p><p></p><p>I think you are very brave to consider this level of automation to a show that invariably in my experience of amateur groups, who are doing this show with young people very frequently in the UK, get a bit chaotic. Locking yourself into this level of accuracy, also introduces inflexibility. I'm just wondering how you cope when they lose a mic, or they do an unscheduled swap, or the band do weird things? I've been mixing musicals for many years, and while I like a degree of assistance from the machinery, I hate the idea of the loss of control. My pet hate is faders flipping to a working level. I've always wished automation for sound followed lighting practice where cues have a time setting, so a slow fade up or down could be a simple prod. When a fader pings up, or just unmutes, I need to take my eyes away from the stage, to be able to catch it and drop or push it a little and often end up fighting the motors! So do you set the next cue to bring faders from their stops to a point lower than you need, so you can manually cheat it up at your pace - seeing them off their stops as the visual cue for your manual movement. I've never had a show where two were identical - especially entrances and exits - and changes to the balance when a dep steps into the pit. </p><p></p><p>I personally would want the 01 with me for these kinds of things. I suspect you're more a studio guy by your use of 'stems'. For Les Mis, I'd have the strings, woodwind and brass as separate groups (in stereo if possible), with percussion maybe split even more, because of the amount of it - all doing different things. I suspect I'd also use the automation to give me the leads on one layer and the supporting cast, in their chorus roles on a separate layer, and then maybe bring those up in stereo on the main layer. The only tricky one is the number where everyone seems to have something separate to sing - most of the others are less complex. The idea of an orchestra mix I cannot adjust would worry me as the balance changes so much between the full on numbers and the thinner, quiet ones - where you'll need to pull out the little piccolo and flute lines, and perhaps throttle back on the bones in Master of the House. For some strange reason, trombone players rarely get to play rasps like that, and they can be far, far to loud compared to the usual orchestra mix. I'm a firm if it ain't broke, don't fix it person - and I really do not trust a pile of computers to work reliably with each other. Far too many delayed starts where the MD just has to reboot his Mac! Qlab on it's own seems fairly stable - but start to control outside kit and the claims about Mac reliability make me smile.</p></blockquote><p></p>
[QUOTE="Paul Johnson, post: 90699, member: 2643"] Re: X32 DAW/OSC Questions I think you are very brave to consider this level of automation to a show that invariably in my experience of amateur groups, who are doing this show with young people very frequently in the UK, get a bit chaotic. Locking yourself into this level of accuracy, also introduces inflexibility. I'm just wondering how you cope when they lose a mic, or they do an unscheduled swap, or the band do weird things? I've been mixing musicals for many years, and while I like a degree of assistance from the machinery, I hate the idea of the loss of control. My pet hate is faders flipping to a working level. I've always wished automation for sound followed lighting practice where cues have a time setting, so a slow fade up or down could be a simple prod. When a fader pings up, or just unmutes, I need to take my eyes away from the stage, to be able to catch it and drop or push it a little and often end up fighting the motors! So do you set the next cue to bring faders from their stops to a point lower than you need, so you can manually cheat it up at your pace - seeing them off their stops as the visual cue for your manual movement. I've never had a show where two were identical - especially entrances and exits - and changes to the balance when a dep steps into the pit. I personally would want the 01 with me for these kinds of things. I suspect you're more a studio guy by your use of 'stems'. For Les Mis, I'd have the strings, woodwind and brass as separate groups (in stereo if possible), with percussion maybe split even more, because of the amount of it - all doing different things. I suspect I'd also use the automation to give me the leads on one layer and the supporting cast, in their chorus roles on a separate layer, and then maybe bring those up in stereo on the main layer. The only tricky one is the number where everyone seems to have something separate to sing - most of the others are less complex. The idea of an orchestra mix I cannot adjust would worry me as the balance changes so much between the full on numbers and the thinner, quiet ones - where you'll need to pull out the little piccolo and flute lines, and perhaps throttle back on the bones in Master of the House. For some strange reason, trombone players rarely get to play rasps like that, and they can be far, far to loud compared to the usual orchestra mix. I'm a firm if it ain't broke, don't fix it person - and I really do not trust a pile of computers to work reliably with each other. Far too many delayed starts where the MD just has to reboot his Mac! Qlab on it's own seems fairly stable - but start to control outside kit and the claims about Mac reliability make me smile. [/QUOTE]
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