This is gold man. Perfect timing for our church too, we just switched from MA dot2 to GrandMA Compact XT so the learning curve is rough. Seeing your workflow a bit more has been a huge help for me! Thank you, I look forward to more and more content!!!
This seems to count on a fixed structure of the song. How do you deal with arrangement changes, especially when they happen live? Say they add a down chorus or build back into the bridge.
@@KevinSmith-ww5uk you have all the dynamics accounted for, you have down looks, mid looks and big looks, jump to where you need to go. I do have a disclaimer in there talking about this assumes you have busking sequences built to put on top.
@@MAMMELLX so you goto cue to jump around as needed? I have been programming the different looks in separate sequences so that it is always a real-time decision what look comes next. The main downside is that it takes a lot more time to test every possible transition and handle all of the move in black.
@@KeeganInTheWild I take direction from Elevation Worship’s creative team, we largely stay white and manage dynamics with brightness. For this last album we mixed in more warm and cool whites with some red leanings for the title track When Wind Meets Fire.
This is gold man. Perfect timing for our church too, we just switched from MA dot2 to GrandMA Compact XT so the learning curve is rough. Seeing your workflow a bit more has been a huge help for me! Thank you, I look forward to more and more content!!!
Love your stuff. It's a huge help! Thanks!!
This seems to count on a fixed structure of the song. How do you deal with arrangement changes, especially when they happen live? Say they add a down chorus or build back into the bridge.
@@KevinSmith-ww5uk you have all the dynamics accounted for, you have down looks, mid looks and big looks, jump to where you need to go. I do have a disclaimer in there talking about this assumes you have busking sequences built to put on top.
@@MAMMELLX so you goto cue to jump around as needed?
I have been programming the different looks in separate sequences so that it is always a real-time decision what look comes next. The main downside is that it takes a lot more time to test every possible transition and handle all of the move in black.
@@KevinSmith-ww5uk you can do that or you can just go back, with fade times it doesn’t really matter
How do you choose color palette for the live albums? Do you choose based on vision of the album?
@@KeeganInTheWild I take direction from Elevation Worship’s creative team, we largely stay white and manage dynamics with brightness. For this last album we mixed in more warm and cool whites with some red leanings for the title track When Wind Meets Fire.