![]() This is because we used Ableton Live to repeat cues (for easier programming) and trigger presets saved to our submasters that could then be triggered as individual lighting cues or looks. If Ableton Live wasn’t triggering most of the lighting it would have been at least 175-200 cues. We only ended up with about 100 lighting cues, about 5-10 were manually triggered. This involved some testing and extra work on the front end but resulted in a better show that was very easy to run. Pretty cool stuff! This allowed us to have the precision of automated cues but unlike timecode we could easily change the order of cues, repeat cues, skip cues, change the tempo, all things that timecode is too rigid to do well and simply. In the end Ableton Live on one machine was triggering a grand total of five other machines running different programs and performing different tasks. We didn’t have video cabling to those areas so we wirelessly connected to them. Then to yet another machine with ProPresenter for lyrics which was a master for two other machines running ProPresenter in slave mode connected to our side screens. To another machine running ProVideoPlayer for videos on our stage screen. ![]() ![]() We ended up with Ableton Live sending out MIDI commands to our lighting console for lighting cues. The biggest one being some pretty heavy automation thanks to Ableton Live and MIDI. Everything went great! In this show we tried out some new ideas that we haven’t done in a show yet. Hey guys, we just got done with a week of rehearsals and shows for Oceans Edge’s Not So Silent Night.
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