Q: What is included in my design package?
A: In short, you get everything you need to support your show with high quality sound effects, scene transitions, and (for musicals) console automation. Each design includes a high quality and easy to use Audio Prompt book, with clear instructions on when and where to play effects. No more chickens scratches in a bad photocopy! For musicals, the book also includes automation cues and DCA assignments for each line.

You will receive all the audio files necessary to execute your production and a QLab™ or Multiplay™ program file for playback on your computer. Most musicals include a TheatreMix™ automation file to make getting your show up an running in rehearsal quickly and easily. Each design includes an easy to use Audio Prompt book, with clear instructions on when and where to play effects. For musicals, the book also includes automation cues and DCA assignments for each line.

Q: What will I need to get started?
A: All of our designs are programmed for both QLab™ and Multiplay™ playback software. You will need to provide a computer for playback, either a Mac or Windows machine depending upon the software you select. If you are doing a musical, you will likely want a second computer to run TheatreMix. It’s possible to run QLab™ and TheatreMix™ on the same Mac, but unless you are very experienced, we do not recommend it. We also STRONGLY URGE you to make these dedicated machines for playback and automation, and to keep them disconnected from the internet for the duration of your show. Experience has shown you are inviting problems if your playback or automation machines are used for other purposes.

Q: I bought your design last year. Can my friend across town/across the country use it?
A: Well, sure they can! BUT, they will need to purchase it from us in order to do that! Your design is licensed for unlimited rehearsals, and up to 30 days of performances. We do have some security features built in to help make sure no one cheats, but we are pretty much on the honor system. Just remember that the artists who put together your design depend upon the support of the theater community to help them continue producing their art. You wouldn’t want to cheat them now, would you? Nah, we knew you wouldn’t!

Q: Are your sounds and music legal?
A: 100 percent YES! All of the raw sound effects and music tracks used within the production are either in the public domain or are licensed for use. In a few cases, there are musical selections covered by copyright included in a design. These are marked clearly in your cue list, and include our best information as to who you can contact to license the music. An alternative non-copyright protected track is generally also included. You will need an ASCAP/BMI performance license to legally use pre-show and intermission playlists. Most schools maintain these licenses as a matter of course. Community theaters can obtain an ASCAP/BMI license through the American Association of Community Theaters at a discounted rate.

Q: I see a lot about Qlab™, MultiPlay™, and TheatreMix™ on the site. What are they?
A: QLab™ and Multiplay™ are software designed for playback of sound cues in plays and musicals. They operate in a similar way to a lighting console. Each sound is an individual cue. Each cue is started by pressing a key on the keyboard (usually the spacebar). Cues can be grouped together, layered, and made to play at specific times. Fade-ins, fade-outs, the volume, length, and even the pitch of the cue can be easily changed in the program. Multiplay™ is a Windows program and is entirely free. Qlab™ operates on Macs only. It is free for two channel (stereo) playback. More output channels and advanced features do require a license, but the fees are very affordable. TheatreMix™ is a wonderful piece of software written by James Holt. It greatly simplifies the process of programming a digital audio console for DCA mixing in musical theater. The software supports more than 20 console models. It is free for Behringer and Midas consoles. There is a very modest licensing fee for using other consoles from Allen & Heath or Yamaha. Check here to see if your audio console is supported.

Q: We don’t have Qlab™ or MultiPlay™, and just play sound effects from iTunes. Can we do that?
A: You certainly COULD use iTunes or VLC or some other playback software for your sound design, BUT we strongly recommend against it. Many (actually most) of my designs have complex multi-part (group) cues that require precise timing to execute properly. Others integrate volume changes or trigger cues that follow automatically. QLab™ (for Macs) and Multiplay™ (for Windows) are specifically designed for the task, and all of these actions are programmed into your design. You could duplicate the programming in another program, but why would you want to? QLab™ and Multiplay™ are both FREE for basic playback of designs requiring only a stereo (2 channel) output. If you need more outputs (for localized effects speakers) you can do that easily in Multiplay™. QLab™ has a very reasonable “rental” license and they give your credit for the rental fees if you decide to purchase a license later on. Our opinion: It’s not worth NOT taking advantage of these two great programs!

Q: What are these “DCA’s” you keep talking about. What are they used for?
A: DCA is short for “Digitally Controlled Amplifier.” They are a key feature of modern digital mixing consoles, and are really what makes it possible (without going nuts!) to mix a major musical. Think of DCA’s as “remote controls” for either single faders, or groups of faders. In some ways they are like sub-masters we used to have on analog consoles, but they operate differently. A musical today can easily have 16 to 24 or 32 or more wireless microphones, and a full orchestra. To ask a sound operator to manage that many channels without help is not realistic. Enter the DCA. As a scene begins, the operator will use automation within the console to load each actor in a scene to one of several DCA’s on the console. As the show unfolds, the operator will call up “scenes” (similar to cues on a lighting console) that will put the mics they need onto the DCA’s, in the order that they need them. They can also combine any number of mics onto a single DCA, allowing them to have all the men, or all the women (your chorus) on one fader.

So, in practice, your musical is being mixed “line-by-line” on the DCA’s. Sound complicated? It is! Running sound for theater is the MOST difficult of all of the technical theater arts to execute. If you don’t believe it, here’s a great video showing a REALLY talented tech by the name of Sam Johnson-Begay line-by-line DCA mixing “She’s in Love” from “The Little Mermaid.”

So why mix this way? The objective is to keep only the mics actually being used open at any given time. Why? Wireless mic elements are omni-directional. They sound much more natural than directional mics. But it also means they pick up sound equally from every direction. If you leave mics open when not in use, you’re more likely to have feedback. At the very least, you’ll begin to hear that “echo-y” hollow sound that we all hate!

As you can see, just setting up and programming a musical is complex! But now, enter TheatreMix™! This wonderful software simplifies programming, and more importantly provides an automation file that can be used on more than 20 popular digital mixers. Our musical designs include a super clear and readable prompt book, showing ALL of the scene changes, and mix cues for your operator, and a TheatreMix™ file ready to load. Just enter your cast, connect to your mixer, and you’re ready to go!

Q: Can I get more help if I need it?
A: Absolutely. That’s what we’re here for. I am available for quick questions, and if you need it we can arrange more in-depth consultations or even training for your students or crew.

Have more questions? Drop us a line here! We’d love to talk.