To add to my previous post, I forgot that the audio delay settings are disabled by default. To enable the sound delay, uncheck “Disable speed of sound delay” in Show settings.  

OK, I get that each firing system type can have exactly one custom module definition currently however…   I use a mix of Cobra 18, 36, 72M and occasionally a few 6M. My crew is usually a mix of experienced and new trainees   I’ll have specific use cases for each module type (single shot/cakes/finale racks/gerbs+strobes etc.)   The 6M is easy enough to deal with, create custom module for those positions, tweak custom module to #99-#6, address and lock the addresses.   18M are straight forward, one channel, 18 cues however…when I get to using the 36 and 72M I want to represent the bank letter on labels to provide additional clarity to crew. I could manually go thru the entire script and use Notes field to put this information in and create even more custom labling templates but that’s not a fun time when dealing with a number of large shows being built in a short time frame.   I initially thought I could pull this off tweaking the custom module deifinition to #99-B-#18 and #99-D-#18 for each module type respectively but…this breaks exporting as this all gets recombined into a singe 36 or 72 pin rail which is obviously not correct.   So, is there a way to make this happen without manually going thru everything and adding notes etc.? Alternately, given that othr firing systems are “close” in there definitions (FireTEK/Mongoose) with slat type exposed is this more of a feture request to have individual Cobra module definitions?

Cobra 6M module would be a nice addition for those of use that do use them.  I currently workaround by using a custom module definition with 6 cues, address the bits that need that module type, lock addresses then go back and change custom module type to something different for other needs.

One way to do this (just did a quick test show to verify using Pro version):   Create your positions Add all the effects to the show Got the script window and filter for each position you’re running sequencer(s) on manually set rail/pin to the same cue(s) your using to trigger the sequencer cues select ALL events at those positions Go to ‘Addressing–Lock Addresses or hit the ‘L’ key so these addresses cannot change with the next step address the rest of the show   Edit:After exporting this script and getting ‘Invalid Address’ errors, make sure when you manually assign the rail/pin combo for the re-fire cues that you use a leading 0 if needed…     Optional: Add something in the “Notes” column for each effect that is on a sequencer referencing the cue and, if running more than one sequencer on a position, sequencer number(EX: S1-1, S2-11 etc.) The you could modify a label template to show that information. There are two good videos here –> https://finale3d.com/video-gallery/ that show how to customize label templates and for printing labels for specific items with filters so you could print one type for sequenced effects and another for the rest of the show

Hi, I’m relatively new to finale3D, and am having some trouble figuring out how to address things so that I can use some sequencers to extend my cue count and avoid running stupid amounts of scab wire. Basically, I want to designate a few cues on a cobra mod to fire multiple times, which will send the signal out to sequencers set to step fire, that way I can use sequencers for my side positions that are generally firing 1 or 2 ematches per cue, and save the cobra mods for cues in the center position which are often requiring more ematches. I have no idea how to set this up though. I am perfectly fine with addressing the cues manually if that’s the easiest (might even prefer that in some cases just so that I can group things in ways that make sense to me), I’m just not sure how to do it.

  Pyro_37110000 wrote: But sound takes a moment to get to the audience. On a summer night, a google search says it would take about .3s to travel 100m. Something to think about. That’s a great point to keep in mind — you’ll probably be happy to hear that Finale 3D already factors in the the speed of sound, making it much easier to account for details like that. Simulation views have realistically modeled sound delays and falloff so you can use Finale 3D to model not only the visual experience, but auditory experience as well. As with all these things, there’s no 100% substitute for real-world testing, but Finale 3D gives a close approximation of those audio factors without any extra work.

Thanks Drew. I thought many others might weigh in on the subject as well. I think you are right about testing, so that’s what I’ll do this year and then try to provide some information. Another design element involves sound. There is nothing like the rhythmic pulse of single shots in a center out series or across a front. But sound takes a moment to get to the audience. On a summer night, a google search says it would take about .3s to travel 100m. Something to think about.

Hi, now I have this same problem, GPU is set on the hight quality, but problem is still. Finale doesn´t work

Tutorial Video: https://finale3d.com/video/how-to-share-modules-between-positions/

Hi  TKFX, i think is very impressive the effect. Would you like to share share the effect with me? Thank you!