ProSoundWeb: If you’re working as a touring engineer without your own gear, it’s possible to get ahead in the game by preparing a mixing template session for all of the consoles that might come your way (or even those console that aren’t as likely to show up).
Having a starting point for a session when under a time constraint (which is always) can not only help save time and increase efficiency, but also ensure a better mixing experience for everyone involved.
1 comment:
I really enjoy reading about how different people set up their console templates in sound and lighting specifically, so this article was right up my alley. I find it really interesting how a lot of principles in how to set up a “good” show file template - organization, workflow, custom key assignments, etc. actually hold across systems within the same type of console (i.e. lighting or sound) but also between disciplines. A lot of these concepts within this article that are specifically geared towards sound could be applied to concert lighting file setup (and to some degree theatrical but that’s another can of worms). I appreciate how step by step this article is laid out, with all of the different areas like routing and layout in an order like you may want to approach them. All in all, this is an interesting article, and I have a couple ideas I want to explore implementing on my next sound console file setup.
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