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Create an Explosion of Reverb for Magical Song Transitions

By Nathan Lively

digico-sd5-macros-qlab-mute-hidden-channels-reverb

UPDATE: This article appears in The Ultimate Guide to Creative Mixing on the Digico SD5.

In this video, I describe how I used macros to create efficient shortcuts in my mix on the Digico SD5 as head of sound for the Out of This Word tour for Ringling Bros. Circus. In it, I show you how I created macros to save the session, control Qlab, dim the lights and screen brightness, open the chat window, easily satisfy producer notes, create an explosion of reverb, and unmute hidden channels.

When I first heard about macros I ignored them because they seemed unnecessary. Why would I create a macro to save my session when I can just as easily click File > Save Session?

Two reasons:

  1. The 500 times that you save 2 seconds by using a macro to save your session will reduce your stress level.
  2. There are other more important problems that macros can solve.

Problem #1 – How do I control Qlab from the SD5?

Unless your Qlab keyboard is right next to you, which mine wasn’t, it’s a pain in the ass to move over to it every time you need to trigger a cue. And what if you make a mistake and you need to hit the panic button? You better make sure it’s close by.

The SD5 has a midi out on the back and you can easily setup a macro to send the correct control message to Qlab.

Problem #2 – How do I mute hidden channels?

There were several times in the show when I needed mute all vocal FX when the Ringmaster would switch from singing to talking in the middle of a song. The channels I needed where not on a visible layer and I didn’t want to create an extra snapshot so I created a macro to mute and unmute those channels.

There are probably several other ways to solve this problem, but I found the macro to be an easy global fix.

Problem #3 – How do I create an explosion of reverb?

Well, this isn’t a problem, per say, as an opportunity. There were two long transitions in the show between songs that I needed to punch up while people were clapping. I tried doing it manually a couple of times, but I was never fast enough to boost the lead vocal, backing tracks, reverb level, reverb time, reverb density, and then return them all to their previous settings in the space of 5 seconds. And again, I didn’t want to create an extra snapshot for this. I just wanted it to be a fun effect I could blast on at any time.

The way I created it was to create a new macro, hit record, and make all of the operations one-by-one manually, then save. Try it!

Pro tip: Use a comma in the macro name to insert a line break. Yay!

Out Of Ideas? Just Add Reverb!

By Nathan Lively

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In this episode of the Sound Design Live Podcast I talk with busy bay area sound designer Cliff Caruthers. I almost titled this one, “How To Make A Living as a Theatrical Sound Designer,” but I’ll go ahead and spoil Cliff’s answer, which is, work like crazy. We talk about some of his cool design techniques, the SF Tape Festival, and why LCS is a waste of money.

Details from the podcast:cliff caruthers

  1. People: Jake Rodriguez, Matt Ingalls, Paul Dresher Ensemble, Charlie Richmond
  2. Theatres: Ashby Stage, Theatreworks, Berkeley Rep, SF Playhouse, OSF, The Guthrie
  3. Shows: SF Sound Tape Music Festival
  4. Software/Hardware: Audio Box, Qlab, LCS
  5. The University of Missouri-Kansas City

Create Your Own Speaker Processing App + Sound Design Meets Computer Programming

By Nathan Lively

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***UPDATE: GW Rodriguez just started his own audio blog. Check it out!***

For this seventh episode of Sound Design Live we have a guest post by sound designer, computer programmer, and didgeridoo player GW Rodriguez. He gives us a short intro on the intersection of theatrical sound design and computer programming along with his own speaker processing app.

Details from the podcast:

  1. Abe Jacobs, Cirque Du Soleil
  2. Software: Max/MSP, Qlab, SFX, TouchOSC, SoundFlower, Adobe Audition, SuperCollider, cSound
  3. Hardware: Yamaha 02R, LCS
  4. GW’s speaker processing app for Mac
GW Rodriguez at work

How To Mic An 800 Seat Theatre With Floor Mics

By Nathan Lively

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In this fourth episode of Sound Design Live I talk to Pierre Dupree, the audio supervisor at The Alley Theatre in Houston, TX, about where to go to graduate school, the dying art of theatrical acting, and how they successfully mic their 800 seat theatre with floor mics. Sorry about the sound quality, this is my first interview using Skype!

Details from the podcast:pierre dupree with mixing board

  1. Schools: University Of Dallas, Cal Art
  2. Theatre: The Pasadena Playhouse
  3. Mics: PCC, Choir, Super cardioid lavalier
  4. Speakers: CQ1, CQ2, JF80
  5. Software: Vectorworks, Qlab
  6. Terminology: “exploded center” = uncoupled point source array
  7. Forums: Theatre Sound, Qlab, TapeOp Magazine

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Copyright © 2022 Nathan Lively

 

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