Timecoded lighting for live music

[numberwrong]

Hi

 

One of my colleagues was asking me about creating a light show to be in time to piece played by a live orchestra for a one off show. I assume in theatre this kind of thing happens a lot, what's the best way of gong about it?

 

The way I'd do it:

 

Use a laptop with some software to run a click metronome which triggers a time code (probably MIDI). Use a USB to MIDI interface to connect the laptop to the lighting desk via MIDI to trigger and run a timecoded cue stack.

Now, I'm assuming the conductor doesn't want to be on a coms channel so they would use In Ear Mons. The click sound from the laptop/metronome would be routed to the conductor (and maybe some of the percussion) in to their IEMs. The conductor would have a shout back mic to communicate with FoH and another hand held on FoH in to IEMs

The conductor could be cued, then FoH would roll the metronome which would trigger the lighting cue stack. I would imagine the conductor would want 8 clicks (or whatever) as a count in which would be dealt with by making sure the first cue on the cue stack was set to trigger at what ever time the 9th click would be at.

Is there a better way? Thanks

[Shez]

LX op who can read music pressing GO on the appropriate beats?

 

If video is involved, then yes, playing to a click is almost unavoidable but for lights, why overcomplicate it?

[numberwrong]

LX op who can read music pressing GO on the appropriate beats?

 

 

Fair point, I don't think it would be easy to find a suitable op that could also read music but they could easily learn the track

[Guest]

As Shez says I think if it was me I would operate live and have cue points and various parts in the score.In my experience conductors are not fond of having a metronome and prefer to set their own tempo.

Edward

[Shez]

Or an SM who can read and call it. It's a common requirement in musical theatre so not unusual.

[timsabre]

Or an SM who can read and call it. It's a common requirement in musical theatre so not unusual.

 

As Mr FatFrog says, finding an orchestral conductor who will willingly and successfully conduct to a click track might be harder than finding a music reading lighting op.

[Ynot]

The other problem with trying to use a click track for an orchestra (particularly as opposed to a more modern style of music) is that invariably orchestral music doesn't actually stick to a single time-signature. Depending on the piece, the 'beat' will slow down and speed up with each movement, and probably within those movements, so trying to time-code to live music will require a great deal more discipline than you might think at first.

[Ken Coker]

Are you just adding lights to the 1812 Overture or are you making a piece where lights and orchestra are symbiotic?

If the latter then what's the issue with the ensemble playing to TC/click? I've done it a number of times with modern music groups. (Smallish ensembles I will admit.)

 

KC

 

 

[numberwrong]

A click track was mentioned in my conversation so I though that was the way to go. Thinking about it, it makes no sense at all!

 

Thanks

[Jivemaster]

Music reading technicians must exist, opera and ballet companies must need them all the time. According to the event and the musos click might be the answer or the call to mutiny.

[TomHoward]

We just finished some rehearsals for a piece where the score was set to about 75 minutes of video to the Battle of the Somme.

There was a 2-bar count and then down for 75 mins straight, with idea and click track for conductor.

The time signature was all over the place, 4/4, 5/4, 7/8 where it was clicked as a crotchet and a dotted crotchet, so it wasn't even regular- plus tempo changes, ramps and sudden accelerations.

If you haven't made the click track already if there are any of these kinds of changes it could be a nightmare to produce, and edit if the timings or tempos need to change during rehearsal.

 

I'd keep it simple and have the op follow a score, or have a musician sit next to the op to follow the score and point at it or call it, if this can work. If the piece is a straight 4/4 piece at one tempo you could sync it, but what if the orchestra get out of time? You'd maybe run the lights manually anyway in case the orchestra get a bar behind, in which case the click becomes unessecary.

 

For me as well, having done this actually I can't read music well enough to follow a full score reliably, but if there is one part that plays throughout (e.g. First violin) I can follow that well enough to still keep the timing, and it's fewer page turns as well.

[gareth]

Don't overcomplicate it. Clicks, timecode, etc. - not really appropriate when you're dealing with live music (unless, of course, there's a prerecorded element/track involved in the music, in which case the technology is easier to deploy!).

 

But for a proper old-fashioned live orchestra, just have someone who can read music to push the button or call the cues. It's worked pretty well that way for many, many years - if it ain't broke, don't attempt to fix it!

 

(PS - if you ever need a score-reading LX op, just give me a shout http://www.blue-room.org.uk/public/style_emoticons/default/wink.gif)

[J Pearce]

Another factor to consider - to get it to run to timecode you will at somepoint have to either work out every hit point and enter it, or run the show in learn mode.

 

When you've got a 30 night run, it can be worth the 3 runs required to get the timecode into the desk and tweaked for accuracy; for a one off show I'd just learn the show and op it against a score. You don't really have to be able to read music to follow a score, you'll need someone who can read basic rhythms and follow bars against the conductor's beat, and have an idea that notes further up the stave are higher. Another consideration - get a reduced score (rehearsal piano score perhaps), you don't want to be calling/operating from a full orchestra score with page turns every 16 bars.

[Tomo]

The primary reason to use a click track is when the live music must synchronise with pre-recorded media (video, audio etc) and/or things like fireworks and other acts that must be triggered a long time before they actually 'happen'.

 

Outside of that, it's of limited use.

- Remember that timecode numbers get into the lighting console by somebody hitting GO at the right moment during a rehearsal run, then adjusting it afterwards.

 

It's quite hard for everyone - it takes a while for the musicians to get used to playing with a click track (esp. if they've not done it before), and removes a lot of options from the conductor.

It can be useful for long runs, but in general the most of the team quickly learn the music anyway, whether or not they ever see a score!

 

Many lighting operators and SMs/DSMs can read a score "well enough", and that's all you need - whether self-cued or called, this is how the majority of operas and musicals are run!

 

A reduced score is a good idea.

Depending on the piece, you may also want some specific parts on it as well as the rehearsal piano - eg the timpani line.