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So on the left you are seeing two of the vocal channels (each doubled with a uncompressed and compressed version) that can be mixed together to create a fuller "rock-n-roll" sound for their singing. Fades are very contextual but in general I have my band faders set to fade for 1 second just so there are no abrupt jumps. Ideally you want your vocal channel to fade as well if it's currently active during a console scene change so there is no sudden jolt in the sound. I'm not always able to do this just because it takes a lot more programming time, but always best to do.

@@alexpregel3725 Love me some NY comp. Does your vox channel being part of the fade mean that you're basically automating a fadeout that overrides whatever the singer is doing?

Not really... any vocal dynamics is always done from the DCAs manually. The automated levels for vocals help with ensemble blend and relative placement of the DCA. In this case, it also changes the mix of compressed/uncompressed signal. I believe this never changes while a particular channel is hot. Of course the band is heavily automated between scenes for blend, but the overall level is exclusively manual.

Thank you! I'm 1000% not the best mixer out there and this was during my sophomore year, but you learn something from everyone! Hopefully once theater comes back I can keep the content coming. About the DCA plot and other paper work: on this console there are 1000 scenes available (100 scenes with intervals of .1). So, I decided to skip a bunch of scenes and only program on half and whole numbers. That way if I need to insert a scene for automation (band level change, FX change, balance change, or an error on my part) I can do so in that gap without having to change the number of all the following scenes (which would be a paperwork and script nightmare). On some newer consoles you can insert a scene (thank you Digico), but not here. The Frame/Slot is just the way the console organizes its IO structure. The PM1D operates on the idea of having a bunch of input/output cages connected to the "brain" via SCUSI. Each cage has a number (1-9) and each cage has 32 inputs or outputs grouped into 8 frames (each frame is a removeable card) that each have 4 XLR in/outs (the slot). Of course that is a little different with digital IO, but it's just all patching. Hopefully that makes sense! Don't hesitate if you have any more questions!

@@alexpregel3725 I definitely have to sit down and follow along that full video (thank you for that)! It's interesting that the PM1D (presumably) has all 1k available scenes laid out in advance--the board I work with has the capability for a shitload of snapshots but you gotta add them as you go. By the way, what's SCUSI? Google doesn't give me any results. That's also a super interesting way of approaching I/O with the modularity of it. I like it. That does indeed make sense! Couple questions: what are you putting your binder on? Also, what would you do differently next time with this same sort of setup? It seems to me like you have your stuff on lock logistically...

@@TJF97 No problem at all. SCSI (Sorry, it's spelled differently than people say it) is a multipin serial cable that used to be popular for servers years ago. It's unique to the PM1D and you'll likely never have to encounter it (lucky you). My binder for that show is on a computer visa arm with a laptop mount attached. Later on I made a 3D printed table for my script to go directly above the DCA section. I wouldn't do too much different with this setup. There are some design choices I may do differently, but I wasn't the designer and everyone has their opinions. There are of course some different decisions I would have made in my mixing of the show but I've diffidently learned a lot since this production.

@@alexpregel3725 Thank you once again! Hope you/we are all able to gig again soon.

I know the formatting is not the best, but it shows what characters are on what DCA for each of the console scenes. The PM1D console does scenes in increments of .1, so I programmed in .5 increments leaving room for additions during tech.

I’m a total beginner to live sound here. I have access to a nice board where I work, but I’ve been neglecting the show/snapshot/cue function. What do you use it for? Why increments of 0.5?

@@TJF97 The snapshots are primarily used for re-assigning DCAs to bring the channels needed for each scene to the mixer's fingers. Imagine trying to control 80+ inputs across different layers without them! Scenes also allow you to program in band levels, aux send levels (monitors or reverb), EQ, and more depending on the capabilities of the console. The PM1D specifically has scenes 1-100 available in .1 increments. Using intervals of .5 was a happy medium between having enough scenes available on the console and allowing room for additions or changes to my scenes during tech. What interval you choose is highly dependent on the console.

@@alexpregel3725 So is your DCA plot primarily structured around bringing the scene's characters to the same few faders each time? What if there are more than 8?

Yes, the console has 12 DCAs which act as a remote volume control for one or more channels anywhere on the console. The first 8 for me are dedicated to vocals (or in some cases band solos) and the last four are reverbs and band. Vocals can be grouped on DCAs (if they sing together). So for instance, eight people that are singing together as an ensemble can be put on the same DCA. If a number requires more than eight separate groups, I find a way to separate it into separate console scenes. The idea is to make it as easy and ergonomic to mix as possible because you may be doing it 8 times a week; something I did not do extremely well in this video. But hey, I was a Sophomore and always still have more to learn!

Thank You!