QLab 4 Show Control: Projects for Live

Performances & Installations, 2nd

Edition – Ebook PDF Version
Visit to download the full and correct content document:
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Contents

A. General 22
Cue Triggering 22
GO Button Settings 23
Panic Duration 24
Cue Numbering and Auto-Load 24
Lock Playhead 24
Cue Row Sizing 24
B. Audio 24
C. Video 25
D. Light 25
E. Network 25
F. MIDI 25
G. Cue Templates 27
H. Key Map 27
I. MIDI and OSC Controls 28
2.8 QLab Preferences 29
At Launch 29
Updates 30
Send Aggregate Usage Data 31
Disabling OS Features 31
Audio Device Buffering 31
Art-Net Lighting Network Interface 31
Broadcast Mode 32
Logging Level 32
2.9 Preparing Your Computer for Running a Show 32
Design Tips: Using Terminal 33
Internet Related Concerns 33
Delete All Extraneous Software 34
Disable Notifications 34
Disable Screen Saver 35
Disable Spotlight 35
Disable Time Machine 35

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Video Concerns 35
Design Tips: Backup Systems and Saving Protocol 37

Chapter 3 Understanding the QLab Workspace 39

3.1 Understanding Cues and the Cue Structure 39
What Is a Cue? 39
Design Tips: Using Time Display Modes 42
How Do Cues Operate? 42
Cue Lists 43
Cue Sequences 43
Playback Position 43
3.2 The Workspace 43
A. GO/Standby/Notes Panel 43
B. Toolbar 44
C. The Main Cue List 45
Design Tips: Toolbox and Load to Time 45
D. Inspector 47
The Basics Tab 47
The Triggers Tab 48
Design Tips: Assigning a MIDI Trigger 49
New Trigger Settings 50
E. The Workspace Footer 51
Edit/Show Mode 51
Cue and Cue List Count 52
Warnings Panel 52
Lists, Carts, and Active Cues Sidebar 52
Status Window 54
Settings 55
3.3 Adding Cues 55
3.4 Setting Targets for Cues 55
3.5 Navigation and View Quick Keys 57
Design Tips: Searching the Workspace 58

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3.6 Paste Cue Properties 58

3.7 The Tools Menu 58
Load to Time 59
Renumber Selected Cues 59
Delete Number of Selected Cues 59
Jump to Cue 59
Jump to Selected Cue’s Target 59
Record Cue Sequence 60
Live Fade Preview 60
Highlight-Related Cues 61
Black Out and Restore Desktop Backgrounds 61
A. Fade Tools 61
Set Parameters from Target 61
Set Audio Levels from Target 62
Set Video Geometry from Target 62
Revert Fade Action 62
3.8 The Window Menu 62
The Audition Window 62
Override Controls 63
Lighting Controls 63
Timecode Window 64
3.9 Cue Carts 64

PART II: QLab Audio Control

Chapter 4 QLab and Audio Basics 69

4.1 Audio Systems 69
4.2 Basic Audio Equipment and Terminology 71
Microphone 71
Input Source 71
Mixing Console 72

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Signal Processors 72
Amplifier 72
Speaker 72
4.3 Understanding Basic Signal Flow: Input/Output 73
4.4 Understanding Software Signal Flow 73
Audio File 74
Audio Cue 74
Inputs 74
Crosspoints 74
Levels Faders (Cue Outputs) 75
Audio Patch 75
Audio Device Output Routing 75
4.5 A Word About Audio Devices 75
4.6 Audio System Configurations 76
Basic Stereo Playback with Multiple Speakers 76
Multichannel Playback System with External Signal
Processing 77
Multichannel Playback System with QLab Signal
Processing 78
Design Tips: Redundant Systems 79

Chapter 5 Setting Up QLab with Your Audio System 81

5.1 Multichannel Sound Systems 81
5.2 Audio Settings 82
Volume Limits 83
Mic Settings 84
5.3 Cue Templates 85
Audio Output Patch 86
The Matrix Mixer 86
Inputs 87
Crosspoints 87
Cue Outputs 88
Setting Levels Faders 88

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Master Fader 89
Design Tips: Balancing Audio Output 89
Default, Silent, and Gangs 90
5.4 Editing Audio Patches 91
Audio Patch Editor: Cue Outputs 91
Audio Patch Editor: Device Routing 91
Crosspoints 92
Audio Patch Editor: Device Outputs 92
5.5 Setting Up QLab with an Audio Device 93
Customizing Your Audio Patches 93
Project 5.1 – Setting Up Your System 93
5.6 Audio Device Volume Levels 96
Balancing Audio Device Output 97
5.7 Audio Effects and How to Use Them 98
Audio Effects and Cue Outputs 99
Project 5.2 – Creating a Reverb Send in QLab 99
5.8 Using Multichannel Audio Files 104

Chapter 6 Audio Cues 106

6.1 Inserting an Audio Cue 106
6.2 Inspector: Basics 106
6.3 Inspector: Triggers 107
Affecting Other Cues 107
6.4 Inspector: Time & Loops 107
The Waveform Display 107
Waveform Zoom 110
Design Tips: Multitouch Gestures 110
Preview Cue 110
Times, Loops, and Slices 110
Design Tips: Looping Sliced Tracks 113
Integrated Volume Levels and Playback Rate 113
Controlling Playback Rate 114

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Project 6.1 – Manipulating Start/End Times 115

Project 6.2 – Adding Slices 116
Project 6.3 – Manipulating Playback Rate 116
6.5 Inspector: Audio Levels 117
Audio Output Patch and Device Edit 118
Set Default Levels 118
Set All Levels Silent 118
Assign Gangs 118
Visible Channels 118
Audio Levels and Crosspoint Matrix 118
6.6 Inspector: Audio Trim 119
6.7 Inspector: Audio Effects 119
Project 6.4 – Editing with Audio Effects 120

Chapter 7 Mic Cues 122

7.1 Understanding the Mic Cue 122
Signal Flow 122
Buffering 123
7.2 Setting Up Your Audio Device 125
Design Tips: Getting to Know Your Equipment 125
Mic Settings 126
Setting Default Levels for New Mic Cues 126
Mic Patch 127
Device Routing 127
7.3 Inserting and Editing a Mic Cue 128
Inspector: Basics 128
Inspector: Triggers 128
Inspector: Audio Levels 128
Audio Input and Output Patch 129
Visible Channels 129
Default Levels 129
Set All to Silent 129

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Assign Gangs 129

Levels & Crosspoint Matrix 130
Inspector: Audio Trim 130
Inspector: Audio Effects 130
7.4 Audio Effects and Mic Cues 130
Cue Output 131
Project 7.1 – Creating a Global EQ Send with
Cue Outputs 131
Device Output 134
Project 7.2 – Assigning an Audio Effect to
a Device Output 134

Chapter 8 Fade Cues 136

8.1 Inserting and Editing Audio Fade Cues 136
Design Tips: Cue Naming 137
8.2 Inspector: Basics 137
8.3 Inspector: Triggers 138
8.4 Inspector: Curve Shape 138
1. S-Curve 138
2. Custom Curve 139
3. Parametric Curve 140
4. Linear Curve 140
Audio Domain 140
Fade Cue Duration 141
Reset to Default Shape 141
8.5 Inspector: Audio Levels 141
Fade Type: Absolute vs. Relative 141
Stop Target When Done 142
Design Tips: Fading Group Cues 143
Levels and Crosspoint Matrix 143
Set from Target/Set All Silent 143
Assign Gangs 144
Live Preview 144

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8.6 Inspector: Audio Effects 144

Fade Rate 144
Stop Target When Done 145
Set Audio Effects from Target 145
Audio Fade Cue Summary 145
Project 8.1 – Pitch Bend to Replicate a Reel-to-
Reel Malfunction 146
8.7 Mic Fade Cues 147
Inserting a Mic Fade Cue 147
Basics, Triggers, and Curve Shape 147
Audio Levels 147
Audio Effects 148
8.8 Manual Fades 148
Project 8.2 – Creating a Zero-Count Fade Cue 149
8.9 Automatic Fades 150
Project 8.3 – Automated Fade-In and Fade-Out
of an Audio Cue 150
8.10 Panning 153
Project 8.4 – Panning via Fade Cue 153
8.11 Ducking Audio 155
Project 8.5 – Ducking Audio 155
8.12 Copy/Paste Fade Parameters 156
8.13 Exploring Trim 157

Chapter 9 Control Cues 158

9.1 Start, Stop, and Pause Cues 158
Start Cue 158
Stop Cue 158
Pause Cue 159
9.2 Load Cue 159
Design Tips: Load Cues and Playback Position 160
9.3 Reset Cue 161
9.4 Devamp Cue 161

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Project 9.1 – Vamping an Audio Cue with Loops 162

Project 9.2 – Vamping an Audio Cue with Slices 163
9.5 GoTo and Target Cues 164
GoTo Cue 164
Target Cue 164
9.6 Arm and Disarm Cues 165
9.7 Wait Cue 166
9.8 Memo Cue 166
9.9 Script Cue 167
Design Tips: Hotkey Safety 168
Project 9.3 – Creating a Hotkey Activated Script
Cue 168

Chapter 10 Group Cues 169

10.1 Understanding Group Cues 169
10.2 Inserting and Editing Group Cues 170
10.3 Inspector: Basics 170
10.4 Inspector: Triggers 170
10.5 Inspector: Mode 171
10.6 Workspace Function 172
Cue Name 172
Notes 173
Hiding Group Cue Contents 173
10.7 Group Cue Projects 173
Project 10.1 – Using the Group Cue to Create
a Playlist 174
Project 10.2 – Simultaneous Playback of Children 175

Chapter 11 Cue Carts 176

11.1 Understanding Cue Carts 176
11.2 Creating a Cue Cart 177
11.3 Cue Cart Setup: Inspector 178
Basics 178

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Triggers 178
Grid Size 179
11.4 How to Use Cue Carts 179
11.5 Integrating the QLab Remote 181
Project 11.1 – Using a Cue Cart for Flexible
Playback 182

Part III: QLab Video Control

Chapter 12 QLab Video System Basics 187

12.1 Understanding Video Systems 187
Video Playback Systems 187
Video Reinforcement Systems 188
12.2 Video System Components 188
The Digital Video Camera 189
Computer 189
Interface Connections 190
Video Only – Analog 191
Video Graphics Array (VGA) 191
Composite Video 191
Separate Video (S-Video) 192
Component Video 192
Video Only – Analog/Digital 193
Digital Visual Interface (DVI) 193
Video and Audio – Digital 194
High-Definition Multimedia Interface
(HDMI) 194
DisplayPort 194
Mini DisplayPort/Thunderbolt 2 195
Thunderbolt 196
Thunderbolt 3 196
IEEE 1394 (FireWire) 197

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Universal Serial Bus (USB) 197

Category 5/6 (CAT 5/CAT 6) 198
Output Devices 199
Digital Projectors 199
Flat Panel Displays 200
12.3 Understanding Video Signal Flow 201
Video/Image File/Video Feed 201
Video Cue/Camera Cue 201
Video Surface Patch 202
Design Tips: Surface Control 202
Output Device 204
Audio 204
12.4 Hardware Considerations 204
The Bottleneck Dilemma 205
Data Path 205
Hard Drive/Data Storage 206
External Storage 206
The Need for Multiple Drives 207
RAM 207
CPU 208
QLab Video CPU Usage 208
Regarding Codecs and Compression 209
Video Card 209
vRAM 209
GPU 210
Output 210
12.5 Connecting to a Video Display 210
What Types of Connector(s) Are Needed? 210
Cable Runs 211
Signal Amplifiers 212
12.6 Graphics Expansion Devices 213

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Chapter 13 Video System Preferences and Setup 214

13.1 Workspace Settings: Video Surfaces 214
Video Surfaces 214
Adding Surfaces 215
Duplicating Surfaces 215
13.2 Editing Surfaces 215
Editing the Single-Screen Surface 215
Surface Name and Dimensions 216
Editor Canvas 216
Screens 217
Individual Screen Controls 218
Surface Controls 219
13.3 Creating and Editing New Surfaces 221
Tools of the Trade: Remote Control for Your
Workspace 222
13.4 Setting Up a Graphics Expansion Device with QLab 223
Project 13.1 – Plug-and-Play Setup 224
Project 13.2 – Individual Screen Control with an
Expansion Module 225
13.5 Creating a Surface with Edge Blending 228
Project 13.3 – Creating a Surface with Edge
Blending 228
13.6 Workspace Settings: Camera 229
Camera Patch Settings 229
Tools of the Trade: Syphon Output 230

Chapter 14 Video, Camera, and Text Cues 231

14.1 Inserting a Video Cue 231
14.2 Inspector: Basics 232
Cue Info 232
Design Tips: A Word About FileFormats 232
14.3 Inspector: Triggers 233
14.4 Inspector: Display & Geometry 233

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The Video Stage 233

Video Surface 234
Mode: Full Surface 234
Mode: Custom Geometry 235
Design Tips: Rotation Options 236
Project 14.1 – Fade Controls for Video Cues 237
Project 14.2 – Animating Image Rotation with
Fade Cues 238
Project 14.3 – Using the Anchor to Your Advantage 239
14.5 Inspector: Time & Loops 241
Waveform Display 241
Preview Cue 241
Times, Loops, and Slices 242
Integrated Fade Envelope and Playback Rate 243
14.6 Inspector: Audio Levels, Audio Trim, and Audio Effects 243
14.7 Inspector: Video Effects 244
Tools of the Trade: Quartz Composer 245
14.8 Camera Cues 246
14.9 Inspector: Basics and Triggers 246
14.10 Inspector: Display & Geometry 247
Project 14.4 – Creating a Ghostly Effect 248
14.11 Inspector: Video Effects 249
Quartz Composer Integration 250
14.12 Text Cues 250
Inspector: Text 250
14.13 Text Cue Projects 251
Project 14.5 – Singalong Lyrics 251
Project 14.6 – Intergalactic Title Effects 253

Chapter 15 Video Effects 255

15.1 Video Effects Presets: Color and Exposure 255
Color Controls 255

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Exposure 256
Gamma 256
Sepia Monochrome 257
Tools of the Trade: macOS Color Picker 258
Min Max Invert 261
White Point 261
15.2 Video Effects Presets: Titles 262
Font Placement 262
Blend Mode 262
Font Name 264
Font Size 265
Show Cue Image 265
Text 265
Color 265
15.3 Video Effects Presets: Blur/Sharpen 265
Box/Disc/Gaussian Blurs 266
Motion Blur 266
Sharpen Luminance 266
Unsharp Mask 267
Zoom Blur 267
15.4 Video Effects Presets: Textures and Edge Effects 268
Pixellation 268
Screen 269
Bloom and Gloom 270
CMYK Halftone 270
Color Posterize 270
Crystallize and Pointillize 271
Edge Work 271
Kaleidoscope 272
Median and Comic Effect 273
Noise Reduction 273

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15.5 Video Effects Presets: Distortion Effects 273

Circle Splash/Hole Distortion 273
Pinch/Bump Distortion 274
Torus/Lens Distortion 274
Twirl/Circular Wrap/Vortex 275
Glass Lozenge 275
15.6 Video Effects Presets: Tiles 275
Op Tile 276
Perspective Tile 276
Quad Tiles 276
Reflected Tiles 276
Rotated Tiles 276
15.7 Video Effects Presets: Custom Compositions 277
Tools of the Trade: Syphon Recorder 277
15.8 Video Effects Projects 278
Project 15.2 – Video Effects and Fade Cues 278
Project 15.3 – Combining Video Effects 279

Chapter 16 Projection Mapping and Surfaces 281

16.1 Mapping vs. Masking 281
Design Tips: Gradation and Masks 283
16.2 Overlapping Geometric Surfaces 284
Project 16.1 – Creating Surfaces for Overlapping
Geometric Areas 285
16.3 Mapping on Non-Planar Surfaces 289
Project 16.2 – Mapping to 3D Surfaces 289
Tools of the Trade: External Mapping Options:
MadMapper 294
16.4 Masking Made Easy 295
Project 16.3 – Using QLab as a Masking Tool 295

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Part IV: QLab Lighting Control

Chapter 17 QLab Lighting System Basics 301

17.1 Understanding Lighting Systems 301
Power 301
Control 302
Lighting Instruments/Accessories/DMX-Controlled
Devices 302
What Is DMX? 303
What Is an Address? 303
17.2 Understanding Lighting Consoles 305
Input/Output 305
Channels 305
Master Control 306
Submasters and Groups 306
Playback 307
Palettes 307
Effects 307
17.3 QLab as a Lighting Controller 308
How QLab Communicates 308
USB-DMX Interfaces 308
Channels 309
Master Control 309
Submasters and Groups 309
Playback 309
Palettes 310
Effects 310
Summary 310

Chapter 18 Preparing to Cue Lights 311

18.1 Network Setup 311
Design Tips: A Word About Polling 314

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18.2 Adding Your Lights 314

Patch 315
MIDI Control 316
Groups 316
18.3 Definitions and the Light Library 317
Light Library 318
18.4 Putting It All Together 318
Setting Up Your Lights 318

Chapter 19 Light Cues 321

19.1 Inserting a Light Cue 321
19.2 Inspector: Basics and Triggers 321
19.3 Inspector: Levels 322
Command Line 322
Add Command 322
Prune Commands 322
Safe Sort Commands 322
The Lighting Commands List 323
Design Tips: Live vs. Blind Programming 324
Collating Effects 324
19.4 Inspector: Curve Shape 324
19.5 The Light Dashboard 324
19.6 The DMX Status Window 326
19.7 Understanding Lighting Command Language 326
Selection Ranges and Passing 328
Pulling Values 328
Up Arrow 328
Ad-Hoc Groups 329
19.8 Cueing Examples 329
Project 19.1 – Creating a Chase Effect 332

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Part V: QLab Show Control and Networking

Chapter 20 Show Control Systems 337

20.1 Terminology 337
Entertainment Control Systems 337
Standards 338
Show Control 339
Network 339
20.2 Entertainment Control Systems 340
Sound Control Systems 340
Lighting Control Systems 340
Video/Projection Systems 341
Additional Control Systems 342
20.3 Show Control Systems 342
Sound Control Systems 343
Lighting Control Systems 343
Video/Projection Control Systems 343
20.4 Show Control Considerations 344

Chapter 21 Understanding OSC and Network Cues 345

21.1 What Is OSC? 345
21.2 OSC Settings 346
Settings: Network 347
Design Tips: Networking Options 348
21.3 Network Cues 349
Inspector: Basics and Triggers 349
Inspector: Settings 350
OSC Messages 350
Commands 351
QLab Messages 352
Playback Control Commands 352

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Parameter-Change Commands 352

UDP Messages 352
21.4 OSC and Cue Carts 353
Project 21.1 – Creating a Cue Cart Interface 353
Tools of the Trade: OSCulator 354

Chapter 22 QLab and MIDI 356

22.1 MIDI Basics 356
22.2 What Is MIDI Show Control? 356
22.3 QLab and MIDI 357
Workspace Settings: MIDI Controls 357
Workspace Settings: MIDI 359
Design Tips: MIDI Across Network 359
22.4 MIDI Cues 359
Inspector: Basics and Triggers 360
Inspector: Settings 360
22.5 MIDI Voice Message 361
22.6 MIDI Show Control (MSC) 364
General Commands 365
Sound Control Commands 366
22.7 MIDI SysEx 367
22.8 MIDI File Cue 368
Tools of the Trade: Go Box 368

Chapter 23 Timecode 370

23.1 How Timecode Works 370
23.2 Timecode Settings 371
23.3 Triggering Cues from Timecode 372
23.4 Timecode Cues 372

Index 374

xxv
 Foreword

From black box theaters to Broadway, cues are being fired and organized in
Figure 53’s excellent application, QLab. What started in 2006 as a simple way
to cue and fade audio playback has grown into a staple of the live entertain-
ment industry, now being used in classrooms, cruise ships, mega churches, and
arenas alike, controlling not just audio, but video, projections, and network
show control protocols and even running the lighting rig.
As a multimedia artist with a wide range of projects myself, from concerts to
Broadway to industrials to installation and gallery work, I have used QLab on
many occasions as an indispensable tool to produce my effects and show
control sequencing. On some shows, I utilize nearly every function of it,
providing video playback for projection mapping, controlling audio levels, and
sending lighting commands, while on other shows I might just be using it as a
hub to control the other show control computers, such as Watchout rig or ETC
Eos lighting desk.
Just as the magic that we see on stage is powered by the unseen machina-
tions of designers and technicians such as myself, behind QLab’s friendly and
simple user interface lies an astonishingly powerful tool capable of sequencing
and managing even the most complicated technical shows. Fortunately, Jeromy
Hopgood has provided a text resource matching the excellence and beguil-
ingly elegant simplicity of the software itself. In fact, I was fortunate enough
to use QLab 3 Show Control as a primary text for a Projection Design course I
taught at Pace University. Jeromy carefully laid out every part of QLab 3 in great
detail, providing my students with a perfect reference.
This new version expands on the approach of the first one, adding new projects
and designer tips while streamlining the examples without sacrificing clarity
or utility. One of the major themes I have learned in my career is that it isn’t
just what you know, but also how you go about applying it. Fortunately for the
reader of this new edition, they are given the opportunity not only to add to
their knowledge base but also how to apply it to their projects. I look forward
to the continued success of both QLab and this accompanying text.
Foreword by Projection Designer Daniel Brodie (Broadway: Motown the
Musical, Disney’s Aladdin, large-scale video designs for Kanye West, Mariah
Carey, and the Bonnaroo Music and Arts Festival)

xxvi
 Acknowledgments

As a theatre artist and a teacher, I constantly extoll the virtues of collabora-

tion to my students. Writing a book is a similar undertaking, in that there are
countless people who work together towards a common goal. There is no way
I would have been able to finish this book without the help of so many people
along the way.
To Stacey, Meredith, and the rest of the team at Routledge, many thanks for
helping turn this into a reality. As always, thanks are due to the amazing group
at Figure 53, who continue to answer so many questions and requests and
without whose support this text would not have happened. Special thanks to
Mic Pool, Rich Walsh, Jeremy Lee, Sam Kusnetz, and Andy Lang for always being
willing to field a question – no matter how obvious the answer seems. To Daniel
Brodie, an exceptional projection designer and all-around good guy, thanks for
taking time from your busy schedule to write the foreword for this edition.
I have had the pleasure of working closely with the folks at TLS Productions,
Inc., in Michigan for the better part of the last decade. Thanks to Dustin Miller
of TLSP for his editorial assistance and general wealth of knowledge when it
comes to macOS nomenclature. There are a number of colleagues who
answered questions, explained things that I didn’t understand, and generally
were there to offer support at the right moment: Wendall Harrington of Yale,
Alex Oliczewski of the Ohio State University, Daniel Fine of the University of
Iowa, David Stoughton of Illinois Wesleyan, and Jake Pinholster of Arizona State
University. Thanks also to Ellen Lampert Greaux and the good people at Live
Design for always being so supportive of my work.
It has been a pleasure to serve as a professor at Eastern Michigan University
over the last nine years. I am proud of the work we do here and so happy to
call EMU my home. To my ED&T and Theatre students, thanks for being such
an inspiration and helping keep my batteries re-charged. You are why I do this
work. Thanks, especially, Kathy Stacey, Don Ritzenheim, and the College of
Arts and Sciences for supporting my research. To John Charles, Melanie Bond,
and Madeleine Huggins, in particular, there aren’t enough words in the English
language to say how much you have helped me over the years.
Finally, so many thanks are due to my family for their love and support in every-
thing I do. So many times, the work that we do in this field can really take a toll
on family life. I’m so lucky to have the team of Katie, Kira, and Isabella to keep
me going. Thanks, ladies, for all that you do and for understanding the hours of
time I spent at the laptop. I truly am the luckiest guy on the planet.

xxvii
 Preface

If it is true that an artist is only as good as their tools, then we are all very lucky
to be living in this time period with so many excellent design and technology
tools at our disposal. These days, the entertainment industry seems to evolve
at a breakneck pace, with new resources and even fields popping up all around
us. As a designer, I know that I am always looking for a new tool to speed up
my workflow and assist me in turning my concepts into reality. For me, few
have been such a game-changer as QLab.
Back in 2008, I started showing some of my design students this new applica-
tion that offered Mac users an alternative to SFX for sound playback. It was a
robust program with an interface that my students took to effortlessly. What’s
more, Figure 53 (the makers of QLab) was a small company that really got how
customer service needed to work for those in show business. I quickly imple-
mented QLab control systems into my performance spaces and classrooms.
With each subsequent version of QLab, more features have been introduced,
from video to show control – and lighting. Over the years, even though the
company has grown, it has maintained that same commitment to customer
service and its user community that it had back when there was just one person
on the payroll.
In 2013, I released QLab 3 Show Control, a text I envisioned as one part hand-
book, one part workshop. The concept was to create a practical book that
would function both as an instructional manual with hands-on projects and a
useful quick reference guide. In addition to the book itself was a collection of
supplemental material on a companion website with instructional videos and
dozens of downloadable project packets for the reader to work through on
their own. In the years since the book’s release, I have been pleasantly surprised
at the number of people who have reached out to me with stories of how it has
pulled them out of a bind or helped figure out a nagging problem.
In late 2016, Figure 53 launched QLab 4 with a number of changes to the soft-
ware, most notably the inclusion of lighting control. This new book addresses
the changes in QLab since Version 3 and offers a number of new projects and
exercises. Furthermore, this edition adds dozens of new Design Tips to help the
designers better understand how to work with QLab and develop their own
sense of workflow. The chapters are broken down in concise numbered sections
that allow you to easily identify and focus on a topic. Like the QLab 3 text,
this edition also makes use of a companion website with instructional videos
and project packets. By downloading the project packets from the companion

xxviii
Preface

website (focalpress.com/cw/hopgood), not only can you read through the

projects in the text, but also tackle them at your own pace on your computer.
QLab 4 is a requirement for the projects accompanying this text. To download
a copy, visit figure53.com/qlab/download. One of the things that makes QLab
so great is a strong user base that loves to share their own experiences and
assist one another. The QLab Discussion List, housed on Google Groups, is a
great place to access years of data and connect with other QLab users. To see
the discussion list, visit figure53.com/support and click on the Discussion List
button by the QLab icon.
Finally, one of the difficulties of writing about digital technology in the print
medium is how very quickly software can change in relation to a book’s print
cycle. In an effort to keep up with major software updates (which often come
out every 6–10 months), visit my Entertainment Design & Technology blog at
jeromyhopgood.wordpress.com, where I will post important update informa-
tion as it is available.

xxix
PART I
QLab Basics
 1
What’s New in Version 4?

While there are a number of additions to the software, there aren’t so many
changes that longtime users will be lost the first time they open it. The inter-
face has undergone a redesign featuring a new font and icons, but the layout
remains consistent to that of QLab 3. The following section breaks down many
of the new additions in Version 4 (referred to as V4 hereafter) and gives you a
taste of what to expect.

1.1 – Workflow Changes

One of the greatest strengths of QLab is its simple, logical layout and how the
workflow can be tailored to meet the user’s needs. Through software updates
over the years, QLab has always responded to feedback and tried to make each
update more user friendly and, more importantly, time saving. QLab 4 offers
a wealth of workflow changes geared to allowing the user to customize their
experience and maximize productivity.

Cue Templates
Cue Templates is a new function of V4 that allows the user to customize the
default settings for newly created cues. Let’s say you’re a supervisor for a
facility with multiple performance spaces. Using the Cue Templates function,
you could create a master file that already has the default patch and levels
for sound and lighting in those spaces so that users don’t have to start from
scratch each time.

Record Cue Sequence

One of the most exciting additions for designers is the ability to record a cue
sequence. This function watches and records the timing of a cue sequence as
you play through it manually. Once you stop the recording, QLab automatically

3
QLab Basics

Figure 1.1
The Paste Cue
Properties window.

creates a Group Cue populated with Start Cues that match the playback timing
you just created.

Paste Cue Properties

Dubbed “fancy paste” by the Figure 53 team, this new tool allows you to copy
some or all of the properties from one cue and paste it into one or more subse-
quent cues (Figure 1.1). This applies to any or all of the parameters available
in the Inspector. This function alone could literally save hours of programming
time.

Batch Editing
Another handy addition is the ability to “batch edit” cues. By selecting multiple
cues, you can now edit the cue parameters of all selected cues in the Basics
and Triggers tabs of the Inspector. Likewise, for Light Cues, you will be able to
adjust instrument levels for multiple cues through the Levels tab.

Pop-Out Inspector, Cue Lists, and Carts

With the release of Version 4.1, the Inspector can be “popped out” into its own
free-standing window, allowing you to move it and resize as desired. In addition,
Cue Lists and Carts can be opened as their own separate windows by using the
“Open in New Window” button inside the Lists, Carts, and Active Cues panel.

4
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 Putting In Screw Hooks Neatly
To prevent a wire hook, when the last few turns are given, from
marring or scratching the surface, special care must be taken. A
splendid way to do the work neatly is to first lay a piece of stiff paper
on the surface where the hook is to be attached and hold it in place
while starting the screw hook. Turn the hook in the usual way
through the paper. When the hook is in place the paper can be
removed by tearing it off.—Contributed by Emile Parent.
 A Window Ventilator

A Removable Window Board to Raise Lower Sash for Ventilation between

the Sashes

The illustration shows a ventilator I constructed to allow air to pass

through between the upper and lower window sash. It consists of a
board 8 or 10 in. wide, and as long as the window sash is wide. A
short distance from one end it is marked and cut on a slant. The
small piece removed is hinged to the main part so that it can be
raised in taking the board from the window. When the sash rests on
the board it cannot be removed from the window.—Contributed by
David Hannigan, Orange, Connecticut.
 An Inexpensive Gluing Press
By N. E. STUDEBAKER

Thenofloor space in our high-school shop is somewhat limited, leaving

room on the floor for the gluing press, and during a large part
of the year the temperature on the floor is too low for gluing. We met
these conditions with the gluing press illustrated.
Three pairs, or sets, of steps, A, were made of pine, 2 in. thick,
and fastened in a series by strips B, so that they all would move
forward or backward between the guides C, which are nailed to the
floor above the shop. On one of the steps—the corresponding one in
each pair—rests a piece of wood, D, 4 in. wide and 2 in. thick,
through which, near its ends, are bored holes to receive lengths of 1-
in. gas pipe, E. Over these holes and screwed to the wood piece are
1-in. floor flanges, F. The pipes E are threaded at one end so that
they will screw through the floor flanges about 3 in. On the other
ends of the gas pipes are fitted pieces of material, 4 in. wide and 2
in. thick, G, resting on washers, which in turn rest on the locknuts H.
The locknuts H prevent the tees J from unscrewing in operating the
press. A rod is used through the tees as a handle for screwing the
pipes E on or out of the floor flanges F. On top of the pieces G rests
the floor K, on which are placed the pieces to be glued. On the under
side of the ceiling joists, and directly over the floor K, is spiked the 2-
in. piece L, between which piece and the floor K the material is
pressed. For the sake of stiffness and lightness the floor K is built up
of 1-in. material, as shown in the detail. This floor may be raised or
lowered by the windlass M. The windlass is simply a ³⁄₄-in. gas pipe
turning in bearings fastened to the under side of the ceiling joists.

The Gluing Press is Attached to the Ceiling Where It Is Out of the Way and
Where the Temperature Is More Correct for Making a Strong-Holding Joint

Supposing the press to be standing as shown in the drawings, it is

operated as follows: The pipes E are unscrewed so that their upper
ends are flush with the top surface of the floor flanges F. The ropes
N are wound up a trifle on the windlass M, thus raising the pieces D,
the pipes E, and the floor K. Lifting D clear of the steps releases the
latter so that the entire series may be moved to the right by pulling
the rope O. In unwinding the ropes from the windlass, D is let down
on the lowest step, which has just been drawn directly under it. This
operation lowers the floor K to its lowest limit and the pieces to be
glued are placed, one on the other, on this floor. If the total thickness
of the material to be glued is sufficient to nearly fill the space
between the floor and the piece L, a rod is thrust through J, and the
pipes are screwed up, thus pressing the material between the floor K
and the piece L. If, however, the material does not fill the space well,
then the ropes N are wound up on the windlass M, thus raising the
floor and its contents as far as possible, and by pulling the rope P
the steps are drawn as far to the left as possible and D rests on a
higher step, thus lessening the space to be taken up by the screws.
The pipes are then screwed up tightly as in the first operation. Our
press is operated from a mezzanine floor where all the gluing is
done.
 A Luminous-Minnow Fish Bait

Make a plug of light wood, preferably cedar or white pine, 1³⁄₄ in.
long and ³⁄₄ in. in diameter at the large end, tapering to ¹⁄₄ in. at the
small end. Finish it to the shape of a minnow and bore a ⁵⁄₁₆-in. hole,
1 in. deep, in the large end. Make a lead plug, with a hole through
the center, to drive tightly into the hole in the head of the minnow,
and finish the front end smooth and even with the wood. Run a wire
through the minnow and form an eye at the tail for hooks, and
another at the head for the swivel. A three-cornered piece of tin
inserted ¹⁄₂ in. back of the head on each side and bent so that the
water will cause it to turn gives motion to the lure.

Bait Shaped Like a Minnow and Coated with Luminous Paint for Night
Fishing
 Two coats of luminous paint will be sufficient for the illumination.
Expose the minnow to the light for several hours, and it will give a
luminous glow in the dark that makes it easily seen by the fish as it is
drawn through the water. As most game fish are night feeders, it
makes a very effective lure.—Contributed by Charles Carrol, Saint
Cloud, Fla.
 To Prevent Putty Sticking to the Hands
When purchasing putty buy a little whiting. This is one of the
ingredients of the putty. Mix enough of it with the putty to absorb the
excess oil. This will prevent it from sticking to the hands. It also gives
the putty more body and makes it much easier to handle.
 Signal for Lighted Lights in Basement

The Small Lamp near the Switch in Circuit Glows When Lights Are On in the
Basement

To avoid the loss of electric current by forgetting to turn out the

light in the basement, I placed a 3-cp. lamp in the circuit near the
switch at the head of the stairs. The small light is a signal that the
light is still turned on in the basement.—Contributed by A. MacCunn,
Toronto, Can.
 Dies for Cutting Cardboard
An inexpensive, yet very efficient, die for cutting quantities of tin
foil, sheet lead, paper, and cardboard can be made from a steel rule
such as used by printers. Procure a rule, two points or about ¹⁄₃₂ in.
thick, which comes in 2-ft. lengths. The rule can be readily bent
without annealing. Bend it to the desired shape and solder, or weld,
the ends together. To give it rigidity, fill in the space with melted lead
to a depth of half the height of the die.
Place the material to be cut against the die and put both into a
vise, or letter press. Apply pressure steadily until the die has cut
through the last thickness of the material. As many as 5 pieces can
be placed and cut at one time. When cutting designs for static
machines, etc., from tin foil, this appliance does away with the
tedious work of cutting one at a time, and then, too, they will all be
uniform. In making the connection at the ends of the rule, be sure
that they meet evenly and do not lap to make the joint.—Contributed
by M. H. Granholt, Long Beach, Cal.
 How to Make a Vacuum Pail
As a substitute for a vacuum bottle a very efficient pail can be
made in the following manner: Procure a 1-gal. sirup pail for the
outside and a ¹⁄₂-gal. size for the inside. Make a collar of tin, as
shown, with projections; bend these down, inside and outside, then
solder the collar to the inside of the larger pail, and the smaller pail to
the inside of the collar. Be sure to make a perfectly air-tight joint in
the soldering. This gives a double wall with an air-tight space all
around the inner pail, or opening. To make vacuum covers for the
pails, take two covers of each size and solder them together, as
shown.
 A Two-Wall Pail with Covers in Which a Partial Vacuum is Made

To produce a vacuum, make a small hole in the metal forming the

collar, also one in each cover. Put a few drops of water in each
vacuum compartment and set the parts on a heated surface. When
the steam escapes, solder the holes. This will produce a partial
vacuum in the space around the inner pail and in the covers. This
will make a very efficient vacuum pail.—Contributed by John H.
Spicer, Magnolia, Ark.
 Ironing Board for Use on a Table

A Cleat Fastened to the Underside of an Ironing Board to Hold It on the

Table Top

A handy ironing board for use on kitchen or dining-table top is

made with a cleat to keep it from moving across the table top. The
cleat, which is 1¹⁄₂ or 2 in. wide, is fastened to the board with screws.
If desired, the board can be made as immovable as the table top by
putting another cleat at one end, so that the two cleats will hold
against one side and one edge of the table top.—Contributed by H.
S. Craig, Rushford, Minn.
 Combination Bookcase and Writing Desk
In planning a writing desk, much convenience can be added by
providing it with a bookcase, in which may be stored those reference
works most frequently used. The design illustrated furnishes ample
room as a drawing desk, besides providing sufficient space in an
inclosed cabinet for books or letter-filing cases.

Combined Bookcase and Writing Desk Which can be Made Up in Golden

Oak, Mission, or Mahoganized Birch, and will Appear Well with Other
Furniture of Like Construction

The material required, figuring exact sizes, is as follows:

2 sides, ⁷⁄₈ by 16¹⁄₂ by 67 in.
1 bottom shelf, ⁷⁄₈ by 12 by 32¹⁄₄ in.
1 top shelf, ⁷⁄₈ by 9¹⁄₄ by 32¹⁄₄ in.
1 back, ³⁄₈ by 40 by 31 in., made of pieces of convenient widths.
1 desk board, ⁷⁄₈ by 16¹⁄₈ by 30 in.
1
 lower bookcase shelf, ⁷⁄₈ by 9¹⁄₈ by 30 in.
1 middle bookcase shelf, ⁷⁄₈ by 8³⁄₈ by 30 in.
1 desk cover, ⁷⁄₈ by 15¹⁄₂ by 30 in.
1 upper back rail, ⁷⁄₈ by 5 by 30 in.
Bookcase Doors
4 stiles, ³⁄₄ by 1¹⁄₄ by 19 in.
4 rails, ³⁄₄ by 1¹⁄₄ by 13¹⁄₂ in.
2 mullions, ¹⁄₄ by 1 by 17¹⁄₂ in.
2 mullions, ¹⁄₄ by 1 by 13¹⁄₂ in.
1 pigeon-hole stock, ³⁄₈ by 7 by 72 in.
For Main Drawer
1 front, ³⁄₄ by 4 by 30 in.
2 sides, ³⁄₈ by 4 by 15¹⁄₂ in.
1 back, ³⁄₈ by 3¹⁄₄ by 29¹⁄₂ in.
1 bottom, ³⁄₈ by 15¹⁄₄ by 29¹⁄₂ in.
2 drawer slides, ⁷⁄₈ by 1¹⁄₂ by 15 in.
1 lower rail, ⁷⁄₈ by 1¹⁄₂ by 30 in.
1 molding strip, ¹⁄₄ by ³⁄₈ by 120 in.
As the main sides are of considerable width, it would be best to
make them of two pieces glued together and, in order to obtain a
strong and neat joint, to have this done by an experienced joiner, or
in the mill. The back edges should be carefully planed, and rabbeted
³⁄₈ in. deep by ¹⁄₂ in. wide for the ³⁄₈-in. thick back. The bottom or foot
piece of the sides should be squared up with the back edges, or the
completed desk is liable to be winding, or warped. The bottom and
top shelves or main cross braces should be marked and cut out,
and, to be in harmony with the shape of the sides, the lower-shelf
tenons are made wider than those on the upper shelf. The top shelf
should be rabbeted ¹⁄₂ in. deep by ³⁄₈ in. wide, to fit the back boards
which are nailed to it. The required mortises in the sidepieces are
marked from the corresponding tenons of the shelves, and can then
be cut out with a chisel. When finished, the four parts constituting the
frame should be assembled, and may be held together with blind
screws, or dowel pins, passed through the tenons.
 The desk board and two library shelves should then be fitted, and
fastened in place with blind screws through the sides, or with cleats
from the inside. For a neat, finished appearance, the back boards
should be carefully joined, exposing no cracks, and fastened with
nails driven into the various shelves. The upper rail, resting on the
bookcase, and the lower rail, forming part of the drawer support, can
then be fitted and secured to the sides with blind screws, either from
the outside or diagonally through the rails from the inside. Drawer
slides are fitted in place flush with the top edge of the lower rail, and
fastened to the sides with screws.
In making the drawer, the usual construction should be followed.
The front piece should be rabbeted near its lower edge to fit the
drawer bottom, and notched ¹⁄₂ in. at each end to fit the sides. The
bottom and end pieces fit into grooves cut in the sides. Suitable
drawer pulls or knobs should be provided.
For the doors of the bookcase, the best construction would be to
tenon the rails into the stiles about ¹⁄₂ in. The glass panel fits in a
notch, ¹⁄₂ in. deep and ¹⁄₄ in. wide, cut around the inside ledge of the
door, and is held in position with molding strips. In order to give the
door an appearance of being divided into four parts, mullions, or
cross strips, are fitted on the outer side of the glass flush with the
rails and stiles, and fastened to them with brads. The doors are
attached with butt hinges.
In making the desk door, a specially selected board should be
used, as the finished appearance of the desk will greatly depend on
this. The ends and sides should be perfectly squared, and the lower
or hinge end cut beveled corresponding to the edge of the desk
board. Butt hinges are used to secure it in position, and hinged
brackets or chains provided to support it when open. When closed, it
rests against a strip fastened to the lower side of the bottom
bookcase shelf.
In arranging the pigeonholes it is best to have the inside boards
rest on the desk board, so that, when desired, the entire
arrangement of the drawers and shelves may be withdrawn easily.
When thoroughly sandpapered and finished to taste, a serviceable,
handy and attractive piece of furniture is obtained, suitable for either
office or home.—Contributed by James Gaffney, Chicago.
 Automatic Stop for Spring-Roller Curtains

The Rubber Ball Fastened on the String at the Stick Prevents the Curtain
from Winding Up

It frequently occurs, in adjusting spring-roller curtains, that the cord

slips through the hand and the curtain not only winds up to the top
but continues until the spring has spent its force, and the curtain and
cord are rolled up out of reach. It is then necessary to use a chair, or
stepladder, to readjust it. All this trouble and annoyance can be
avoided if a small hollow rubber ball is obtained, and holes punched
through so it may be threaded on the curtain string, and tied close to
the stick. Should the curtain slip away with this attachment, the ball
will jam up against the window frame, preventing further winding up.
—Contributed by T. B. Lambert, Chicago, Ill.
 Spoon Attachment to Prevent Child from Using
Left Hand

The Projection Keeps the Spoon from Entering the Mouth When Taken in
the Left Hand

To discourage a child from using a spoon in the left hand, a

projection was made of a piece of brass, filed into the shape shown
in the illustration. After the projection was attached, the entire spoon
was plated. This makes it impossible to use the spoon in the left
hand, as the projection will prevent the bowl from entering the
mouth.—Contributed by W. H. Hutchinson, Hamilton, Ont.
A High Chair