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Testimonials

"Never been so easy"

Just finished the run of Legally Blonde at a local theatre and can report the faultless integration of SCS and the X32. Programming and Controlling the Mic Mutes has never been so easy (16 radio mics, 23 mics in the orchestra, 5 float mics and 1 mic in the green room for chorus backing).

248 mic cues ran without a hitch even running though a wireless router (used this so that I could adjust the X32 from the stage during sound checks etc.).

Simon Wicks, UK
www.allandsundry.org


'Thank you so much!!!!'


 

If you ever need someone to tell folks how great SCS is for singers, let them get in touch with me. I have gotten a couple of other folks that do the same thing we do to use SCS and we all love it. Since we only use it to sing concerts with backing tracks we only use a small percentage of the power in the system but we love it!!

Tom Kowalski, Singer and Performer, USA
twofortheshowduet.com


'Well done!!'


 

Every time I work in a new show and design the SCS production, I feel more grateful in your work. Whenever a director proposes something different, there is always a way to do so within SCS. With each new challenge I discover useful features. Sometimes a very little thing that makes my life in the control booth easier.

Thanks.

Lluís Vilarrasa, Barcelona, Spain
www.lluisoshorta.cat


'The absolute best'


 

SCS is great software that anyone can use whether in the West End, touring or local. It’s robust and easy to set up a show and run. Apart from this great software the stand out point for me is the software support and response when you need some help is absolutely the best I have ever encountered … by a country mile!

Bill Mustoe, NAP Music Ltd. UK
www.napmusic.co.uk


'SCS is the go-to solution for all my shows.'
 

Whether doing large productions like Grease, Sound of Music, Oliver and many more for the Cork Opera House or simpler school shows, SCS is bullet proof for everything from simple playback to midi based show control. (The midi implementation is excellent.)

Lawrence White, Freelance Sound Designer
www.lwhiteaudio.wix.com/lwaudio


'What a pleasure'


 

What a pleasure to have personal contact from a software developer/supplier. It makes a very welcome change in this world of automated online shopfronts and "noreply" email addresses.

As I'm typing I'd like to say a big thank you for the SCS product, it really is a fantastic, easy to use, bullet proof, reasonably priced piece of software. I come from the world of TV and Film sound recording and have found myself branching out into theatre sound design by accident. SCS being so intuitive was a great help to me as someone who has had to learn from scratch on their own.

Simon Clark, Simon Clark Audio


'Great Results with 11.2.1'

 


 

We have just been through 2 weeks of install in a new theater where we have selected SCS as the cueing software of choice. I am happy to report that SCS 11.2.1 is up and running with 6 channels of audio and an HD EiKi projector. We are running SCS on a Dell i7 Quad Core Desktop with 2 external Creative Labs XFI sound dongles (2 x 2 ch) and a high end GPU that can provide 4 video output ports of which we are using only 2 .... 1 for the computer monitor and 1 HDMI port for projector. Projector video is fed on twin CAT5 cables using an HDMI extender that is good for 60 m.

Audio is run with 2 channels fed to FOH speakers and 4 independent channels for special sound effects played through repositionable monitors around the stage. We can get the gunshots, phone rings, horses neighing and any other sound effect to occur wherever we place the monitors. Really adds dimensional space to the audio.

SCS is controlling 1920 x 1080 video seamlessly along with controlling a plethora of audio cues through the 6 ports. In addition, but unrelated, we also run our lighting console (D-Pro) on the same computer and link SCS to D-Pro through Loopbe MIDI interface. SCS cues the show and feeds MIDI commands to D-Pro that control our DMX universe of traditional incandescent lights as well as sophisticated intelligent lights. D-Pro is a powerful GUI based lighting console sold through Enttec.

Video cues occur exactly when commanded with smooth fades. Slide shows are spot on. Even when I intentionally overload the cues... Video and audio play perfect!

Theater opens in a few weeks and tech week for the first show starts next week. The crew is excited about the power and control that SCS brings to the table.

Kudos to the SCS team!

Brian Lincoln, Great American Playhouse, Oro Valley, Arizona, USA
www.greatamericanplayhouse.com


'With SCS, give me a sound track – and I’ll give you reality.'


 

We used SCS 11 for the Global Premiere of David Stevens (author – The Sum of Us) new work The Beast and The Beauty at The Old Mill Theatre here in Perth. It ran the sound and A/V (over 150 audio and 45 A/V cues) perfectly. Not that there was ever going to be any doubt – but I thought you might like to know! It is certainly my weapon of choice for soundscape design.

Graeme Johnson, Taurean Productions, Perth, Australia


 

'What a wonderful software!'


 

We have completed Asami Maki Ballet Tokyo Roland Petit's Duke Ellington Ballet in New National Theater in Tokyo using SCS to run all Duke Ellington's Music tracks for 5.1 surround. We set up 2PC SCS (No.2 PC was Back Up). Main PC used to playback music tracks and to sent MIDI Cue to "Program Change" YAMAHA O1V96i also to sent No.2 PC "Go". Because we remixed all 5.1 surround tracks one by one at theater and recorded "Layer" in YAMAHA.

No.2 PC was work sync complete.

No hang up and no trouble!

Masashi Doi, Freelance Sound Designer, Japan


'A constant source of show information to Audio, Lighting, Video and Backstage crew'


 

We have just completed the New England School Spectacular in Tamworth at the Tamworth Regional Entertainment Centre using SCS to run all backing tracks and intros which ran faultlessly.

Our set up was basically using SCS to have a constant source of show information to Audio, Lighting, Video and Backstage crew to keep us all on track with the show progress. Some items were purely live music which had a Note cue with the item title and relevant information on it, backing tracks used the count down timer deployed over the FOH meters in the top RH corner of the screen.

I also had all pre show and interval announcements pre recorded in SCS as well as pre show, interval and post show music. Everyone found it really useful and the shows went very well. The handy thing we could do was editing on the fly as the main show was cut down for one of the Matinee shows as some of the schools couldn’t be there. This made it easy to change the order or drop items out and still have a good work flow. Video loved it cause they new exactly which items was coming up next so they could preload the item info for the screens and knew of the changes well in advance."

Peter Scott, Audio Productions, Tamworth, NSW, Australia
www.scottproaudio.net


 

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