Scenario 1 – Fader in manual override mode
Phil is in rehearsal with full cast, but instead of the pit orchestra, they have a rehearsal pianist. He knows the orchestra mics, including some level information, are already programmed into the cues. The rehearsal comes to cue 5, which has a loud orchestra part, so the cue was programmed to bring the orchestra’s level up.
Because the orchestra is not present, Phil does not want a pit full of open mics. He brings down the group fader for the orchestra. Having worked with other digital boards, he is not sure whether, when he hits the Go button to go into cue 5, the orchestra level will jump back up to the level programmed into the cue. He hopes it doesn’t, and when he sees visual indication that the fader is in manual override mode, he is able to feel more comfortable.
Scenario 2 – Bob is Singing Funny…
Bob, one of the singing leads, is coming down with a cold and his tonal color is off from usual. After hearing a few bars, Phil decides to adjust his eq to accomodate for Bob’s state. He hits the EQ button to Bob’s channel strip. This opens the EQ effect panel, which takes over the screen space of the channel strips on the touchscreen. He applies a few filters and adjusts the EQ. Then because he was modifying an existing EQ setting, he hits the Save As button in the EQ Effect Panel. This opens a dialog box to enter a name for the new preset. He then hits the “Manage Cues” button in the Center Section. This opens the Global Search Dialog, giving Phil the ability to search for all occurences of Bob’s old EQ setting, and replace it with his new preset.
Scenario 3 – Fly Blind!
After altering some EQ settings on a stand-in’s audio channel, Phil had “used’ the new settings by hitting the “Use (Manual)” button in the EQ effect panel, setting that channel into manual mode. He then realized some similar EQ tweaks might be useful on her channel for another act. He quickly reopens the EQ panel and adds the current setting as a preset. Since it was on his mind, and things were otherwise running smoothly at this point, he toggles the “BLIND/LIVE” switch to enter Blind Mode. In Blind Mode, all of the physical controls continue to control the live output, but anything onscreen is independent of output to the speakers. This means that Phil can pull up and modify any cue during a performance and return to the current cue after his modifications are complete. With the console in Blind Mode, Phil advances to the cue that needs the EQ modification by hitting the “Blind Recall” button and entering the cue number. (Had he not known the number, he could have used the cue timeline at the top of the display.) He then selects the stand-in’s channel, touches the EQ effect block, and opens the EQ effect editing panel. After he is done adjusting the EQ, he saves it by hitting “Use in Current Cue”. Phil then toggles the “BLIND/LIVE” switch to re-enter Live Mode, and the console updates its display for the current cue channel configuration.