Autoload of next cue in Fader Section

Hello,

I'm sorry you're having this issue. I've tried to mock it up here based on your post but I'm finding that my next cue is ready to go each time.

What version of software are you running? You can find that out by hitting the setup key. The version will display in the bottom right hand corner of the setup page. Current software version is 3.1.

If you are at current software and the issue is still happening, I would like to take a look at your show file.

I think the question is why is the next cue not loaded to the faders immediately upon completion of the prior cue.  Why does he have to push [go] in order to load the new cue into the fader pair?  Or I could be misunderstanding the question as well...

Best,

John 

Thanks for your answers. Both of you got it right. The next cue is indeed not waiting upon completion of the first one. I am very glad to hear that this is only a bug. At the moment I am preparing for my new  Job and using the actual version of the offline editor, version 3.11.

Ahh - I can see that now - thanks John!

Olli- is it correct that you want to be able to crossfade both ways? If so, Express is not designed to work that way. The manual crossfade you are doing is actually an override to the programmed time, not a true manual crossfade like on a preset console. This is why you must press GO for the next cue to load.
 

Thanks -

Sarah 

Hmmm... actually I regard it as a risk for the operator... There are, even in a simple Theater show, parts where the operator has to adapt the fading time of the cue e.g. when he has to correspond to the walking speed of the actor when fading in. Therefore an essential part of the desk.

You have to take care, that you never forget to press cue and verify that you then got the right one at the fader now. I can not imagine of a situation where this could be useful. For me it is just a risk for the operator. (In my case I nearly always like to fade in manual instead of having predefined fade times, so for me it is a risk at every cue!)

In fact you do the manual crossfading (in "manual fade time mode") when pulling up both faders (e.g. A/B). The old cue fades out and the new one fades in. After that pulling down both faders to zero could step to the next cue.

If the console is not designed to work that way, what would actually speak against changing it? In my eyes it is maybe not so difficult to say if I have a cue in one of the Playback Masters, the condition of the cue is fully loaded (indicated by the colour) and the fader value is Zero, then load the next cue. A similar thing you do already when asking the faderpair if it is below 10 befor or while the cue is coming up to stage to call the fade "manual".

Of course, many Operators got propably used to the fact that they have to press the go button, but if I see things right, I cannot remember a desk during the last 15 Years where this was neccessary. But of course, the Express is as far as I remember, my first ETC desk and I have to admit that beside my issue withe the autoload you can do a lot with this desk, especially regarding the price!

Hi Olli -

You bring up a good point and it brings to light some very different traditional working methods between the US and Europe. In the US, operators very rarely take control of a cue during a play in the way that operators in Europe do. This console has a very old (and much loved) soul and has been what we call "feature complete" for many years, so unfortunately we cannot change the way the faders work. We have two product families that will crossfade both ways for recorded cues - the SmartFade and Congo control systems - and I'm unclear as to whether you are new to the theatre you are working in (and the console has been there for some time), or if the console has been recently purchased.

I'm glad you have found the other benefits of the console - it has a lot of features for the price (as you mention). It's always interesting to see how differently we all work to get a show running.  

Thanks much -

Sarah 

Hi Sarah,

thanks for your quick reply. The console was just ordered and will be installed in the coming weeks. Nevertheless I think that the Express was one of the best choices they could make. I aggree with you that certain desks have certain programming philosophies or intended working methods. I have to wirk with the console the next years and in this case I think I change my way of running a show. Although I like to produce the curve and the times of fades live in adaption of whats going on at the stage, preprogrammed fade times also have their advantages.

I think that it is not selfunderstanding that a manufacturer has a forum where different desk issues are discussed, where then qualified personnel is doing q&a. that quick. Thanks a lot for that. 

As Sarah has stated, it's really all in however the syntax for the console was designed, and an Express can emulate the Euro manual fader set, if you just understand the method - run the fader set back down and press GO.  You at all times retain the ability to operate the cues in either manual OR with any recorded times that are desired.

I've had many Euro and "other then US" operators want to do simple and manual fades, and they all quickly understood how the Express works and had no issues with it. 

I admit my favorite crossfader for simple cues was the Leprecon LP1500 series, which worked exactly like the OP described - You simply start a crossfade by moving the crossfader in the next direction of travel, however fast you wanted the fade to run.  Upon completion of fader travel, the next cue in the stack was loaded into the blind side of the fader.  If you had added a time, you simply bumped the fader to full travel, and the cue delayed completion according to the recorded time.  You could always run the fader back down to match the LED's for override.

Only problem was no ability for split up and down times.  Thus no need for dual cross faders.  No BACK button either.  HUGE disadvantages.  Thus I'll gladly take the Express method.

Steve Bailey

Brooklyn College 

Related note: We had a Russian ballet company that used to use our Obsession I for their full-length ballets to recorded music.  It was a challenge to provide their requested functionality of manual split crossfades on the Obsession, as opposed to an Express or Expression interface.  In fact, it was an undesirable fact (I mean, to this road man) that if the handles of the faders were pushed all the way up, the cue would drop off the handles as "complete".  But he got the hang of what he had to do in order to split and even reverse his fades when called for.

I felt that, because the music was all recorded, the whole operation was a bit of a charade.  The artistic director and choreographer would yell at the road man because his wiggling (my term) of the faders for a single cue were spoiling the effect he had in mind.  In the U.S., the whole value of a modern light board is the absolute repeatability of whatever the cue is "set" to be.  But the choreographer, despite being unable to afford a live orchestra, wanted the board operator in the booth to "respond" to the action on stage, and vice versa, | guess. 

They eventually got the money to tour with their own console, which was much more satisfactory to all concerned.

Tim 

Related note: We had a Russian ballet company that used to use our Obsession I for their full-length ballets to recorded music.  It was a challenge to provide their requested functionality of manual split crossfades on the Obsession, as opposed to an Express or Expression interface.  In fact, it was an undesirable fact (I mean, to this road man) that if the handles of the faders were pushed all the way up, the cue would drop off the handles as "complete".  But he got the hang of what he had to do in order to split and even reverse his fades when called for.

I felt that, because the music was all recorded, the whole operation was a bit of a charade.  The artistic director and choreographer would yell at the road man because his wiggling (my term) of the faders for a single cue were spoiling the effect he had in mind.  In the U.S., the whole value of a modern light board is the absolute repeatability of whatever the cue is "set" to be.  But the choreographer, despite being unable to afford a live orchestra, wanted the board operator in the booth to "respond" to the action on stage, and vice versa, | guess. 

They eventually got the money to tour with their own console, which was much more satisfactory to all concerned.

Tim