![]() I found I prefer the ability to grab a pencil and make big notes for myself on the fly. On a couple of shows, I've actually marked up my script to include a note to "put on the cans" at certain points where upcoming cues DO need coordination with other departments.Īs for HOW I mark my script, I've flirted with the idea of reading off a screen, but have gone back to a marked up hardcopy in a ring binder. Add to that the number of effects that would be of the "take a visual cue for yourself, sound" variety anyway, and you can see how rarely I end up taking cues. In any case, on most of the shows I do, handling the mics is a bigger part of my workload than Sound Effects anyway.and the DSM doesn't provide any help on this anyway. I do keep the cue light in my eyeline though! Since most of my work for the past year has been musicals and pantos, I've spent little time with the headset on. When doing a show that's just a few FX or Music Cues to playback, wearing cans and taking DSM cues is okay, but there's no way to mix properly with a comms headset on if you're doing a show with live mics. ![]() You could then put your cans on and wait for the cue then when the cueing sequence is finished you can take them off! You can also adapt beltpacks or buy special ones so the signal button is really huge so you can see it clearer. Haven't done this before but if you have a 2 circuit techpro comms system you could bung lx and other depts that don't need to take there cans off on 1 circuit and sound on another then instead of giving a s/b q the DSM could signal your circuit. At least the A&H ML-series desks have comms built in, which can be routed through me earbashers alongside the mix - confusing at times but a good compromise. leaving me back at square 1 having to listen in on the cans the whole time, or following my own script and paying careful attention to that call-light. I agree that's the best solution - if there is a DSM, I usually end up sharing on the same comms circuit as every one else, which given the lack of proper cue-lights on most shows I do, means plenty of confusion when the call-lights end up being used as cue signals. just having a little bout of paranoia!! :** laughs out loud **: The question really, is how do you guys handle your cues etc? Am I missing something here? Should I be learning to use cans while mixing a show? It's also quieter than my usual "turn the page and swear profusely when I lose me way or drop a sheet" technique!! While I always keep a paper copy in a binder with me, I find the laptop easier to read, given that the screen is backlit and all. So, my usual solution is to obtain an electronic copy of the script, save it as an HTML file and have it displayed in a fullscreen incidence of Internet Explorer, making for easy page flipping and preventing "additional" typing when going for the Page Down key in a hurry in the dark. I hate being on cans while mixing a show, and rarely have an assistant on hand to handle the script and cue me. All too often the SM or ASM aren't on cans, in which case I'm totally reliant on cueing myself!! Given that I usually end up on shows where huge amounts of radio-mic reinforcement is required, I'm mixing like crazy, having to chase the principles on and off stage, often at the same time as doing CD cues. Okay - here's my current preferred way of cueing/being cued when mixing something like a panto or a musical.
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