This is the main runtime screen. designed in Max/MSP, this program allows for total control and integration of everything needed to successfully and artfully sound design a theatrical production. The simplistic interface displays only essentials so that anyone can run the show. Cues are laid out in button form for easy triggering during tech rehearsals and can also be triggered sequentially with the “go” button or spacebar. Left and right on the directional pad allow the user to jump easily between cues whenever necessary.

The secondary screen allows for the constant monitoring of output levels. The top row of meters indicate the fader levels on the BCF2000. the fader position on the physical board is completely integrated with the meters on top row – if you move a fader physically the program will mirror that and if you move the level in the program, the physical fader will react and  move with the changes. Furthering the comprehensibility of the program, the bottom row shows the standard green, yellow, red indicators of output level. These levels are mirrored on the led lights around the top knob on the board. the mute displays are red when muted and green when active – also integrated with the top row of buttons on the BCF2000.

The front page looks a bit different when not in its “performance” look. Here we see the inner workings of the keyboard triggers and routing of all the interactive pieces of the program.

 

 

 

When revealed, the levels page shows all the midi control messages that are constantly being sent back and forth between the computer and the BCF2000. Additionally, this page is home to the final step of the program: the conversion from digital information to perceivable audio.

Though seemingly cosmetic, the mute display involved a bit of work to animate between red and green and respond to the buttons on the BCF2000. The top image shows the interpretation of signal and the bottom takes care of the dynamic appearance.

Usually hidden, the buffer page shows the inner workings of the loading of sound files. Having each cue stored in a separate buffer makes for seamless transitions between cues that have no delay from when they are triggered.

The engine room of the program, the sequences subpatch handle all the commands that the user sends and subsequently triggers those actions. This subpatch prepares the cue, sets the levels, indicates the output location, and triggers the sound all within milliseconds.