Has anyone sunk this low?

[KindredHyperion]

Has anyone ever run a serious play of a two-preset manual desk before? And I mean literally two preset. As in, two presets, master faders for each preset and I think it even goes as far as a fade timer knob for each preset! >_>

 

It doesn't have a model name on it anywhere - I think it might be a preceder of the Alcora or Elara, but it has no memory at all. It doesn't even require power, except that that it gets from the 10v analogue control. I would be quite interested to know what it is, so if anyone knows... it's a nasty shade of grey, and it has red and blue bits on.

 

In two weeks I will be running a play off it. Eek.

 

Has anyone ever had to run a serious theatrical performance off anything as bad as this?

 

Adam

 

 

 

P.S: Apologies this topic is a bit pointless, but ah well.

[misterbassman]

I ran amdram off a strand LX24 2 preset desk for years, it wasn't ideal but then at the time it was all I knew, I even remember using an additional 6 channel single preset desk for some "special effects" when we went over the 24 channel restriction

[Andrew C]

Has anyone ever run a serious play of a two-preset manual desk before? And I mean literally two preset. As in, two presets, master faders for each preset and I think it even goes as far as a fade timer knob for each preset! >_>

Has anyone ever had to run a serious theatrical performance off anything as bad as this?

 

Adam

 

P.S: Apologies this topic is a bit pointless, but ah well.

<{POST_SNAPBACK}>

 

 

Come on; get real!

 

Many of use will have run shows on desks with no presetting and certainly nothing as fancy as a timer knob. I've used Junior 8s, Grand Masters and a variety of 'home brew' resistance boards, all prior to meeting the Mini2 then a Pulsar 18 way two preset. This was followed by Strand SP60 and 80, before using an M24 as a first memory desk (The Minack) in the mid 80s.

[KindredHyperion]

Ooh, not nice... I guess that's where the real skill as an operator comes in - pushing up 10 faders to different levels at the same time and making it look as smooth as a preset ;)

[si_cole]

Yeh, I always think its a good way to learn the tricks of the trade to run a show off a single or 2 preset desk. I seem to recall being brought in for a show for a school many moons ago and trying to control crossfades on 1 preset using suitably arrange bits of wood so I had more "fingers"

 

Very Heath Robinson but hey, it worked and taught you a lot!!! Then there's the dance schools who want you to do a "disco" effect. Ha, get real.

[tadawson]

I guess you can always tell the newer folks to this business. They are the ones who can't seem to grasp that two scene preset at one time WAS state of the art, and that everything was done on them, no matter how large or small. We just about messed ourselves when we got 6 scene preset! You want fun, try doing a show on a couple of old "piano box" resistance boards. Preset? What the heck is that? All you get is 6 levers and a mechanical master, which will only move them at the smae rate, in the same direction. Multiple boxes? Better grow another arm . . . . . .

 

Sure, the modern stuff is great, but we managed to do just fine before it's arrival . . . .

 

- Tim

[J Pearce]

Until I went to sixth form every school I had ever done, including some serious theatre, was on a 2 preset (not just in school, elsewhere too).

 

Its hard but good fun, until last week I had only been using the MX48 for a while. It was a surprise to get back on a 2 preset when doing a show at my old high school.

 

It is manageable, I use a little notebook with fader levels for each scene to aid my memory.

[gareth]

Yup, been there, done that. Ran a fair few shows on a two-preset SP30 in my younger years!

 

I'd certainly have to take you to task with your description of operating a two-preset desk as "sinking to low depths", though - in many ways, operating a show on a console like that requires far more skill than that possessed by many so-called "board ops" working in theatre these days. Obviously there's a certain amount of skill involved in the programming of memory consoles, but when all is said and done any muppet can sit in front of a lighting desk and press 'Go' every time the DSM tells them to. Running a complex show on a manual desk was a very, very different kettle of fish.

[andy_s]

I regularly used to plot shows with 80 - 90 cues on a Galaxy at the Drum in Plymouth then rework the show to tour on our Tempus 24 2G - 2 presets, 2 groups, all "manually" timed - the time control was not one of this desk's better features good lighting doesn't just come down to how many channels and fixtures you have.

 

To assume that "good lighting" arrived with the wholehog or 520 is to ignore a lot of talent and skill demonstrated in the last century.

 

my favourite preset desk was the AMC - 3 presets and 3 groups, so if you were good you could do 9 part move fades (counting the state you started from)

 

regarding timing, all you need to do is count and listen to the show - with a manual desk you know when the cue needs to start and when it needs to be over , and you have almost infinite control over the bit in the middle - the fade profile - slow down, speed up as required. This is a feature that I believe some memory desks have now?

 

Mind you, I don't think I would have got on with Fred Bentham's lighting desk - I can't play the piano to save my life, as was proved when I had to cover sound for our christmas show, and trigger the comedy boxing match sound effects from a keyboard. somehow it was much more consistent when the regular operator (who does play the piano) was on duty.

[jfitzpat]

Has anyone ever run a serious play of a two-preset manual desk before? And I mean literally two preset. As in, two presets, master faders for each preset and I think it even goes as far as a fade timer knob for each preset! >_>

 

It doesn't have a model name on it anywhere - I think it might be a preceder of the Alcora or Elara, but it has no memory at all. It doesn't even require power, except that that it gets from the 10v analogue control. I would be quite interested to know what it is, so if anyone knows... it's a nasty shade of grey, and it has red and blue bits on.

 

In two weeks I will be running a play off it. Eek.

 

Has anyone ever had to run a serious theatrical performance off anything as bad as this?

 

Adam

 

 

 

P.S: Apologies this topic is a bit pointless, but ah well.

<{POST_SNAPBACK}>

 

You'll be a better designer/operator for it. A one scene board would make you better still. Back in the dark ages, a fellow might run a good sized production of 18 or 24 autotransformer dimmers - big handles, no preset. Between cues you spent a lot of time flipping breakers or moving slides on your patch bay.

 

An XY preset would have been heaven, but it also would have cheated you out of a valuable lesson. When you are physically unable to make all the changes at once (even with hands, feet, chins, and helper(s)), you learn to make the required changes in the most visually pleasing order. You also learned to lead cues, gently dimming some things in advance of the 'called cue'. You learned this out of necessity, but it works visually and dramatically as well.

 

Now, too many shows I see go from look to look with no real thought about the transition. The obvious will still be there - fade down to the one special on the blah-blah speech, etc., but the subtle layering that used to accompany all transitions will not.

 

-jjf

[andy_s]

Has anyone ever run a serious play of a two-preset manual desk before? And I mean literally two preset. As in, two presets, master faders for each preset and I think it even goes as far as a fade timer knob for each preset! >_>

 

It doesn't have a model name on it anywhere - I think it might be a preceder of the Alcora or Elara, but it has no memory at all. It doesn't even require power, except that that it gets from the 10v analogue control. I would be quite interested to know what it is, so if anyone knows... it's a nasty shade of grey, and it has red and blue bits on.

 

In two weeks I will be running a play off it. Eek.

 

Has anyone ever had to run a serious theatrical performance off anything as bad as this?

 

Adam

 

 

 

P.S: Apologies this topic is a bit pointless, but ah well.

<{POST_SNAPBACK}>

 

You'll be a better designer/operator for it. A one scene board would make you better still. Back in the dark ages, a fellow might run a good sized production of 18 or 24 autotransformer dimmers - big handles, no preset. Between cues you spent a lot of time flipping breakers or moving slides on your patch bay.

 

An XY preset would have been heaven, but it also would have cheated you out of a valuable lesson. When you are physically unable to make all the changes at once (even with hands, feet, chins, and helper(s)), you learn to make the required changes in the most visually pleasing order. You also learned to lead cues, gently dimming some things in advance of the 'called cue'. You learned this out of necessity, but it works visually and dramatically as well.

 

Now, too many shows I see go from look to look with no real thought about the transition. The obvious will still be there - fade down to the one special on the blah-blah speech, etc., but the subtle layering that used to accompany all transitions will not.

 

-jjf

<{POST_SNAPBACK}>

spot-on re: transitions. Who likes jerky lighting? I don't.

[Jivemaster]

Started on switch-boards with resistance dimmers, thought it was good when quadrant resistance dimmers arrived -you could clamp all the levers to a common shaft and turn them together!!!!!!!

 

The ART is LIGHTING not board technology!!!!!

 

Get a briefcase full of card pieces cut as guides to set states with, or write good notes.

[KindredHyperion]

Alright, alright, I'm only 14! ._.

 

24ch preset is, to be honest all I've ever used in concert before, although I've never done a play with it before. I have used memory desks before (drama dept has one but they're too stingy to let us use it ;) Drama departments, I ask you! I have, of course, hired stuff a couple times as well. But that was only for the big stuff with some kind of budget!

 

Even so, I look forward to the Jands Event 408 coming in the summer holidays ^__________^

[david.elsbury]

Yes. The most I've done is 24channel 2 preset, and calling a spot at the same time. Talent show at my old intermediate. I made up a whole lotta cue sheets on the computer to scrawl the info down easily.

[the kid]

I see this going back to the four technicians... but at my old school they still use a tempus 24way and patt 123's, 125's, 2k toasters.

 

EDIT ... any pic's of it possible?