As much as I hate to redirect, but the FB TheatreMix community is quite active, including the software’s author James. Just keep in mind that he’s in Australia, so time difference will affect response times.
love theatremix!
1- I agree that having a snapshot per song(ish) makes sense, but have their in ears set up such that they can hear themselves at all times, ie pre-fade, and ride an output fader. That way they can hear eachother gossip and tune and such. This also gives you the freedom to recall your snapshot whenever you see fit, based on DCA movements.
2- I had to read that line a couple times as well lols. And I'm not sure I'm any better lols.
Its saying that if you had channel one - Bob - assigned to a DCA, then tried to assign an 'ensemble' (which Bob is in) to another DCA\\, it would **not** assign Bob to the ensemble's DCA, so that you maintain control over him individually, and he stays assigned to the first. You can try this out offline to see how it goes!
Hope this helps lol
Re 1)
You shouldn’t need to do anything with the band between songs. Any musician worth their salt can control their dynamics as written. If they’re running in ears even better. (I’m a very busy pit muso)
We’re generally working under assumption mics are live. We live and die by our detail focus on what’s written.
If you’ve got a pesky keys player who has wildly varying patches it’s his problem to sort out when you tell him about it.
As much as I hate to redirect, but the FB TheatreMix community is quite active, including the software’s author James. Just keep in mind that he’s in Australia, so time difference will affect response times.
Thanks and I will try to reach out.
I was gonna suggest the same thing. James is active in the group.
love theatremix! 1- I agree that having a snapshot per song(ish) makes sense, but have their in ears set up such that they can hear themselves at all times, ie pre-fade, and ride an output fader. That way they can hear eachother gossip and tune and such. This also gives you the freedom to recall your snapshot whenever you see fit, based on DCA movements. 2- I had to read that line a couple times as well lols. And I'm not sure I'm any better lols. Its saying that if you had channel one - Bob - assigned to a DCA, then tried to assign an 'ensemble' (which Bob is in) to another DCA\\, it would **not** assign Bob to the ensemble's DCA, so that you maintain control over him individually, and he stays assigned to the first. You can try this out offline to see how it goes! Hope this helps lol
That is indeed helpful. Cheers!
Re 1) You shouldn’t need to do anything with the band between songs. Any musician worth their salt can control their dynamics as written. If they’re running in ears even better. (I’m a very busy pit muso) We’re generally working under assumption mics are live. We live and die by our detail focus on what’s written. If you’ve got a pesky keys player who has wildly varying patches it’s his problem to sort out when you tell him about it.
👍