digitaloutput wrote:Great! Nice to hear that....What about VST, did you tried any of it in the mix?
airickess wrote:Let us know how that goes. Since theater productions is one of my primary uses for SAC I am very interested in seeing how AMP performs.
RBIngraham wrote:West Side Story has opened and closed. Had a couple of issues with control surfaces changing the the order of their MIDI ports which messed things up. But if we got things started up in the correct order all was well. It was so nice to have real DCA groups and not the bullshit fader latching of SAC. We had 23 channels of wireless lavs, 8 of which were on dedicated faders and the others were run from 10 DCAs, although more often than not there was only 6 to 8 DCAs in use. And the last bank of my 24 surface faders were hard assigned to submasters for orchestra levels, area mic levels, overall wireless levels, etc...
I set up Aux Sends on AMP to be used like Matrix Outputs. This will be a great package for theatre mixing when complete.
airickess wrote:Good to know. Right now I'm working on a production touring locally where I'm running 24 wireless packs and 2 wireless handhelds. I'm the operator as well as the designer and I don't use control surfaces. It's a combination of the mouse and some scenes for more complicated parts of the show. If you were the operator as well, do you think you could be able to run the show without control surfaces? Operationally, how does AMP compare to SAC for theatrical work? Any differences?
airickess wrote:Thanks Richard. That is some great information.
The Mixer Window Tabs sounds like a very useful feature.
Having real DCAs would probably change my workflow for mixing theater. Currently I am using Scenes when needed while also selecting groups of mics by latching the needed mics by clicking the tops of the channels in the F Mixer and bringing them up. I've adapted well to this method. Of course the downside to this is that I can't bring down any open mics at the same time so I've learned to pick the spots where I need scenes to do that for me or else I just very quickly bring down the mics after the others are up. Obviously with this method I can't do a line-by-line mix like many musical theater mixers are wont to do, but I've found I don't run into any feedback issues considering that almost half the casts have headset mics on and at least four more are headworn cardioid lavs. I've become very good at setting gains and EQs to make all the vocals match evenly. Oh, and compressors are helpful too.
RBIngraham wrote:What you're describing to me seems like a lot of mouse gymnastics required. Carpal tunnel anyone?
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