Because s/he is using QLab in theater and is looking for outboard gear with several outputs. So the relevance of all the things in the original post influenced my response. I’m simplifying, but you get the gist, ya? Other cues in that stereo channel won’t be effected by the panning - b/c the console is not hard-panned: the particular content is. The QLab programming would allow you to modify one specific audio cue into that stereo console channel to pan from L>R while that track rolls. Most lo.budget mixing consoles don’t have that many balanced outputs - hence the inclusion of the environment of the application in the original post.Īlso: with QLab programmed, you can route specific playback channels L/R/C+Sub w/o having to hard pan that fader on the console.Įxample: the console stereo channel is sending L/R. Hence the original query re hardware + application. If you need more than L/R, you’ll want more outputs. Which makes it entirely relevant.Īs you know, QLab allows you to utilize & route 10 outputs and 24 inputs. Well, the original post included the mention of QLab. The Prosonus proved unroad-worthy (it was antiquated before the truck pack).Īh: Ok. I’ve also toured with Prosonus and M-Audio, but for less-evolved designs. Getting beyond L/R/C+Subs makes for a significantly more immersive experience for the audience. All this was achieved with self-powered speakers and QLab>Motu - b/c multiple outputs. The other so I could have geo-specific audio cues (the telephone ring originated from a speaker concealed in the set, footsteps in the hallway from upstage, sirens passed from R>L. One show live-tweaked wireless HH thru a laptop to apply pan, pitch-shift and sample + pre-recorded material + live instrumentation (keyboard: piano, organ, string beds). I’ve had two shows this past month where we’ve used two different Motu outboard boxes - specifically for multiple I/Os. Re gear: I’m also an audio engineer in live performance (not just theater). The audio signal path is digital playback>outboard box (where the D/A conversion happens)>sound. The benefit is that once it’s programmed, it’s one-touch-GO so your stage manager doesn’t have to twiddle knobs while tracking cues. The audio allows for multiple outs for example, you can program sfx to roll 5:1 with panning.
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